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THE 
MERCHANT OF VENICE 

EDITED WITH 

HISTORICAL AND EXPLANATORY NOTES, SUGGESTIONS 

ON LITERARY INTERPRETATION, LESSON HELPS, 

AND STAGE DIRECTIONS 

BY 

MABEL TUTTLE FRUSH 

Teacher of Reading and Dramatic Art, Graduate of the 

Columbia College of Expression, Chicago, and 

OF THE Studio of the late Mrs. Milward 

Adams, Chicago 




Chicago New York 

ROW, PETERSON AND COMPANY 



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COPYKIGHT, 1917 

ROW, PETERSON 
AND COMPANY 



APR 30 1917 



©CI.A462199 



INTRODUCTION 

It has been the purpose, in this arrangement of 
Shakespeare's most popular comedy, to provide the 
teacher with material which can be used to excellent 
advantage in the class room, and also be made an inter- 
esting feature of the regular literary program. 

"Wherever possible in the adaptation the editor has 
employed the language of the poet, retaining in entire 
such portions of the drama as experience has shown the 
children thoroughly enjoy. The scenes included are the 
strongest in the play and, by reason of their dramatic 
Intensity, the most easily comprehended. 

Many of the difficulties contingent upon beginning the 
study of the drama form have been eliminated in the 
present arrangement, which is designed for an intro- 
ductory course in the study of Shakespeare. It has 
been found that the dramas are quite likely to prove too 
long for young readers to find their study a pleasure, 
save in the hands of the exceptional teacher. Objections 
have also been offered to the selection of single scenes 
from different plays, since, though they serve to acquaint 
the pupil with the work of the poet, they do not afford 
an opportunity of appreciating the marvelous skill and 
craftsmanship revealed in the development of the 
dramas. The intention has been to avoid both of these 
objections in the present volume by briefly sketching 
the events which occur before, after, and between the 
scenes offered, thus holding them in unity. In the con- 
3 



4 INTRODUCTION 

necting chapters much care has been exercised to choose 
those lines which will best serve to stimulate the pupil's 
interest in the scenes omitted, and awaken in him a 
desire to read them. 

Extended experience and a close observation of chil- 
dren at Shakespearean performances has convinced 
me that they can profitably study the drama earlier 
than is generally supposed, and they will always find 
plays enjoyable if properly presented. 

Mabel Tuttle Frush. 



WILLIAM SHAKESPEARE 

On Henley street, in the village of Stratf ord-on-Avon, 
Warwickshire, England, there stands a little two-story 
building in which was born William Shakespeare, the 
greatest of all English authors. The exact date of his 
birth is unknown, but the old parish register in the 
village church shows that he was christened on April 
26, 1564. Since children were then generally christened 
at the age of three days, he is supposed to have been 
born on April 23. That happens also to have been the 
day of his death, which occurred in 1616. 

He was the eldest son of John and Mary Shakespeare, 
and the third child in a family of eight. During his- 
childhood his people appear to have been in fairly 
comfortable circumstances, but later his father, who 
was a small shopkeeper, and at one time mayor of 
Stratford, met with reverses. 

Of the early years of Shakespeare very little is 
known. He received but limited schooling, and it is 
not known what occupation he followed before going 
to London. 

In November, 1582, at the age of eighteen, the poet 
was married to Anne Hathaway, who was seven years 
his senior. She was also a native of Stratford parish, 
having been born in Shottery, a little village now noted 
as the site of the '^Anne Hathaway Cottage," in which 
she passed her girlhood. Three children were born of 
this marriage : Susanna, Hamnet and Judith, the last 
two twins. The daughters survived their father, but 
Hamnet died at the age of twelve. 
5 



6 



WILLIAM SHAKESPEARE 



In his early twenties Shakespeare went to London, 
where he spent the greater part of the time nntil he 
retired in 1610. He was connected with the theatre in 
various capacities, and had written eighteen dramas 
before he was thirty-four. Success attended his efforts, 
and he became the owner of some valuable property, 
including **New Place,'' one of the finest residences in 
Stratford. He was residing there at the time of his 
death, which occurred at the age of fifty-two years. 
He is buried in Stratford church, whence doubtless his 
remains would have been transferred to Westminster 
long ago were it not for the inscription above the crypt. 



Good frend for Iesvs mke forblare, 

TO Dice THE DVST ENCLOASED KARL^ 
BlCST BL f man Y spared T\i,S STONE-S 
AND rvnST BE. Ht Y MOVES" MY BONLS- 



SOURCES OF THE PLOT 

Although Shakespeare possessed the ability to create 
wonderful plots, he seldom directed his talents to that 
end, preferring to adapt to his purposes those created 
by others. This is the reason he has sometimes been 
pronounced a plagiarist. In a measure the charge is 
justified, yet the authors from whom he has borrowed 
have always profited thereby, Shakespeare's genius hav- 
ing saved from oblivion the name of more than one 
ambitious writer. 

The characters and plot for the Merchant of Venice 
were gathered from not less than four sources. Shylock 
was taken from Marlowe's ''Jew of Malta," and from 
^'The Orator," by Alexander Silvayn. In all probability, 
Shakespeare obtained the idea for the speeches in the 
Trial Scene from the ninety-fifth declamation in Sil- 
vayn 's volume entitled, "Of a Jew who would for his 
debt have a pound of the flesh of a Christian." The 
chief source of the plot, however, was the "Adventures 
of Giannetto" in a collection of Italian tales called the 
"Pecorone." The hero, a young Venetian merchant, 
fell in love with a rich young widow, whose castle was 
called "Belmonte." The money necessary to send 
Giannetto forth to woo the lady was borrowed from a 
Jew on the security of his foster-father. The young 
man won his bride, but in the pleasure of her society 
forgot the passing of time until a letter from his foster- 
father told him the Jew had demanded payment of his 
7 



8 SOURCES OF THE PLOT 

bond. The young wife not only generously provided her 
husband with more than enough money to discharge the 
debt, but with her maid followed him to Venice. Dis- 
guised as a lawyer, she pleaded the case of the foster- 
father in the court, where the Jew refused the payment 
of the bond, demanding instead the life of his adversary, 
and lost both, as did Shylock. In gratitude for the 
lawyer's services Giannetto offered her the money 
refused by the Jew, but like Portia she declined it, 
asking for his ring as her reward. 

For the idea of the three caskets, Shakespeare is 
indebted to the "Gesta Romanorum," a collection of 
Roman stories, but in this instance it was the son of an 
Emperor who thus sought to find a bride. 



SUGGESTIONS FOR TEACHERS 

There is no subject in the school curriculum that 
requires greater latitude in the method of presentation 
than literature. This is particularly true of Shakespeare, 
where the interest of the class largely depends upon 
the enthusiasm of the teacher, her independence of the 
commentators, and the avoidance of technical discussions 
and criticisms. 

Literary Appreciation. The development of an 
appreciation for and a desire to seek the best thoughts of 
the noblest minds is, of course, the fundamental purpose 
in including the study of literature in the school course. 
Such an achievement, however, requires infinite discre- 
tion and tact in presentation, and boundless enthusiasm 
for the subject on the part of the teacher. Above ali 
else the thought must never be sacrificed to the word; 
the spirit lost in the letter. 

It is regrettable that Shakespeare employed I instead 
of me as the object of the preposition in Antonio's letter 
to Bassanio, but it is a trivial thing and should be dis- 
missed lightly. Attention should always be called to it, 
of course, but it may be charged to careless habits of 
speech acquired in childhood, or to rapid writing by a 
man whose thoughts were probably often far in advance 
of his pen. Compared with his great achievements, 
Shakespeare's errors in English and historical data are 
too insignificant to be considered, and the beginner 
should be made to feel this. Pupils of elementary and 
9 



10 SUaGESTIONS FOB TEACHERS 

secondary schools should be made lovers of Shakespeare, 
not critical students, and to this end all else may well 
be sacrificed. 

Textual Study. Generally speaking, it is advisable 
for the teacher to give the first reading of each assign- 
ment of the Shakespearean text. At the close, attention 
should be called to such words or phrases as are likely 
to prove too difficult for independent study, the aptitude 
of the class determining the assistance necessary for 
their mastery. Care must be exercised that the word 
and phrase study do not become too detailed. It is never 
advisable to spend much time in clearing up obscure 
phrases ; their meaning will gradually come with famili- 
arity with the drama, particularly in the dialogue 
reading. The essential thing is that the class acquire 
an intelligent appreciation of each incident in the 
development of the plot and of the characters. 

The first class-reading should never be interrupted 
for textual explanations. Such difficulties as were not 
previously disposed of should be postponed until the 
assignment has been finished. 

The last few minutes of the recitation can be profit- 
ably devoted to an informal discussion of the characters, 
the plot interests, or the dramatic sequence. Such a 
period not only serves to promote ease of expression, but 
stimulates the class interest, and encourages the inde- 
pendence of thought essential to the development of 
individuality, 

Reading by Parts. The advisability of beginning the 
dialogue study before the drama has been read through 
is a matter to be left to the discretion of the teacher. 
It does not seem generally advisable, however, to begin 
reading by parts until the pupils are familiar with the 
entire plot, otherwise they cannot intelligently appre- 



SUGGESTIONS FOR TEACHERS H 

hend their respective roles. Certainly no memorizing 
should be required until character assignments have 
been made, as it is impossible for pupils to appreciate 
the full beauty and significance of the lines unless the 
words are illuminated by the emotional content revealed 
through the action of mind on mind in the character 
interpretation. 

Value of Dramatic Work. Every child possesses 
strong dramatic instincts, which should be cultivated for 
the purpose of stimulating the imaginative faculties 
and developing greater vocal and bodily expression. 
Assigned a role and given an opportunity "to act" 
invariably results in a more careful and thoughtful 
study of the lines than any other plan. In mere 
memorizing the child may only learn words; when 
assigned a part he absorbs ideas. At first pupils will 
not grasp the significance of many of the lines, but they 
will catch the general thought through the dramatic 
action, while the development of the emotional intensity, 
that comes from familiarity with the lines, will react 
upon their minds and enable them more readily to appro- 
priate the thought than is ever possible from reading. 
Given a part the pupil will live it over and over again, 
thus unconsciously making his own some of the sublimest 
thoughts and noblest sentiments ever expressed. 



SUGGESTIONS ON LITERARY INTERPRETATION 

It is impossible in the limited space here allotted to 
give more than a few general suggestions on literary- 
interpretation. Those offered are for the most part just 
broad working principles, designed to assist the teacher 
in obtaining a more intelligent reading of the lines. 
In some instances, however; specific suggestions have 
been given on the interpretations of a few of the more 
difficult passages. 

Thought Reading. The reading of verse, even blank 
verse, offers many difficulties to children, who are usually 
disposed to read lines rather than thoughts. Much 
can be done to overcome this tendency by having them 
read rapidly around the class, each pupil reading one 
thought. 

Where a passage contains many modifying clauses, it 
is well to have the student omit these until he has 
mastered the principal thought, then add the modifiers 
one by one. He will thus not only grasp the idea of 
subordinating modifying clauses to the main theme, but 
will more readily acquire the ability to differentiate 
values. 

Inversion always offers difficulties, but these can 
usually be overcome by having the pupil transpose the 
sentence into its direct form. When the correct reading 
has been established, again invert the phrase or sentence, 
using the same inflections. 

13 



14 OY LITERARY INTERPRETATION 

Vocal Interpretation. The teaching of no other sub- 
ject, unless it is vocal music, requires as close observa- 
tion and criticism of self on the part of the instructor 
as that of reading. This does not mean that the teacher 
should cultivate a studied nicety of speech or an affected 
quality of voice, but it does necessitate an appreciation 
of distinct enunciation, clear articulation, and a pleas- 
antly modulated voice. Owing to a natural disposition 
to imitate, children unconsciously acquire the speech and 
voice of their teacher, this being especially true of her 
manner of reading. 

It is commonly observed that the reading voice of 
the average child is distinguished by a quality entirely 
unknown to his speaking voice. This voice is generally 
acquired through an effort to obey the teacher's injunc- 
tion to ' ' read louder. ' ' In order to make himself heard, 
the pupil naturally takes a higher pitch, giving his tone 
a hard metallic quality, which makes his reading sound 
artificial. The carrying power of a voice no less than 
its beauty is largely dependable upon its resonance and 
overtones, qualities not to be found in the so-called 
''public school voice," which also lacks the flexibility 
necessary to variety in expression. The fact that a 
pupil cannot be heard is more often due to poor enun- 
ciation and faulty articulation than to the tone. 

It is not sufficient to call the pupil's attention to his 
fault, he must be assisted in finding his correct pitch. 
One of the most satisfactory methods of accomplishing 
this is to have him read some simple sentence, which 
would naturally be read in the middle register; as, "I 
went home at noon," or "School is dismissed at three 
o'clock," at several different pitches. The suggestion, 
"Tell me that," is also helpful. It is advisable to 
impress upon the minds of the children that correct 



ON LITERARY INTERPRETATION 15 

tone placing is as essential to the quality of a speaking 
voice as to that used in singing. The principles learned 
in the music lesson can always be profitably applied in 
the reading class. 

Poor articulation is one of the most prevalent faults 
to be noted in the average reading class. Except when 
due to physical conditions this is usually attributable 
to a disregard of vowel values, the slurring of certain 
consonant combinations, or the clipping of final letters. 
Shakespeare should never be employed for any purpose 
but the teaching of Shakespeare, but a little attention 
on the part of an observant teacher will enable her to 
locate the pupil's difficulty, and she can readily devise 
or select a mechanical exercise of full-voweled words, 
difficult consonant combinations, or troublesome final 
syllables, the practice of which will assist the pupil in 
overcoming his habit. 

Several of Shy lock's speeches in Act I are addressed 
, to himself. This subjective quality of tone is very diffi- 
cult for the amateur, but it can be acquired by resorting 
to the mechanical device of having the pupil take a 
reflective attitude (weight on heel of back foot, eye 
unfocused, as if looking inward) and say, ''Let me see," 
endeavoring at the same time to recollect something he 
has really forgotten. The difference in tonal quality will 
readily be recognized. 

Shylock's last speech in Act IV is likewise extremely 
difficult, but can be mastered if given with the idea of 
reading ' ' down the breath. ' ' With the giving out of the 
breath the chest drops, producing a feeling of physical 
lassitude. The teacher, however, should never call a 
pupil's attention to the mechanics necessary to produce 
an effect, but work through the imagination by having 
him recall the sensation experienced at some time when 



16 O'N LITERARY INTERPRETATION 

frightened or ill, thus awakening the true physical 
emotion which results in a corresponding vocal response. 

Breathing. Unless the reading class follows the 
singing lesson or physical exercises it is advisable to 
devote at least two minutes to breathing exercises. This 
will serve to stimulate the thought and improve the 
voice work. When pupils get out of breath while read- 
ing or breathe in the wrong place, they should be 
cautioned to breathe at the end of the thought. Full, 
deep breathing is especially necessary in portraying the 
role of Gratiano, whose physical vigor is his most strik- 
ing attribute. 

Thought Analysis. The first essential to intelligent 
literary interpretation is careful thought analysis; an 
appreciation of the underlying motive which prompts 
each speech. For example, take Shylock's speech begin- 
ning with line 11, Act I, Scene II. He first reassures 
Bassanio, who has somewhat heatedly taken exception to 
his previous remark, then explains what he meant by 
''good." In the next sentence the cautious Shylock 
reveals his opinion of the reckless speculations of 
Antonio, who would be pronounced a "plunger" on the 
modern exchange. After enumerating the merchant's 
various argosies, all of which it is to be observed are 
bound for what were then considered far distant ports, 
he figuratively explains why he regards such ventures 
dangerous. Here, observing Bassanio 's thoughtful 
expression, he again hastens to assure him that Antonio 
"is sufficient." Shylock does not address Bassanio 
when he says "Three thousand ducats;" he is thinking 
aloud as it were, showing that all the while he was 
talking his mind was occupied with the amount of the 
loan. Then note his cautious answer, which reveals him 
to be a man who takes no risks. In what striking con- 



0^ LITERARY INTERPRETATION 17 

trast to the Jew 's well-poised deliberation is the insolent 
positiveness of Bassanio's reply; one can almost feel 
Shylock's smiling tolerance of this youthful arrogance, 
as he says, with a subtile significance which is entirely 
lost on the other, ' ' I will be assured I may. ' ' 

Pupils will learn in a surprisingly short time to 
appreciate the value of such an analysis, and will enjoy 
the work if it is not permitted to become too analytical ; 
but enthusiasm and spontaneity are always necessary to 
the success of an English class. Close thought analysis 
is especially necessary to avoid monotony or prevent 
ranting in the longer speeches of Shylock, whose interest 
in life has been narrowed to a single purpose. Naturally 
it colors his every thought and action, but ample oppor- 
tunity for variety is afforded through fine shadings of 
tone and delicate inflections. This, however, requires 
not only an accurate knowledge of the meaning of each 
word, but the ability to differentiate clearly ; as, for 
instance, between hate and loathing. 

A satisfactory rendition of all descriptive passages 
necessitates clear visualizing and an appreciation of the 
cumulative effects of sequence in both thought and tone. 
Where the pupil's mental pictures seem to be blurred, 
the teacher should assist him in visualizing by a few 
pertinent questions. 

Character Assignments. Before beginning the dra- 
matic action the teacher should see that each pupil has 
a definite idea of the character he is to impersonate, 
and is able to form a distinct mental picture of it. 

It is generally advisable on beginning the study of a 
character to make the assignment to the pupil qualified 
to give the best interpretation. Each member of the 
class, however, should be given an opportunity to imper- 
sonate as many roles as possible, the assignments being 



18 ON LITERARY INTERPRETATION 

made regardless of sex. Always encourage originality in 
impersonation, at the same time holding the pupil true 
to the generally accepted idea of the character. 

In making assignments for the general class-room 
work, after the initial study, pupils can be benefited in 
innumerable ways if they are assigned characters for 
which they are not well suited. For example, let the 
shy, modest girl and diffident boy play Shylock or 
Gratiano, and the aggressive, conceited boy or girl take 
the role of Antonio or Bassanio. 

Several pupils should be assigned the same role for 
each recitation, care being exercised in the dialogue 
arrangement that weak pupils do not play opposite. It 
is always advisable, if possible, to close the recitation 
with the strongest pupils impersonating the various 
roles. 

In the dialogue work the teacher should insist from 
the first upon the intelligent attention of the character 
addressed to the one speaking. To listen with as keen 
attention and interest to a speech with which one is 
perfectly familiar as if hearing it for the first time is 
more difficult than to speak lines. The dramatic 
intensity of a scene is as dependent upon the respon- 
siveness of the silent characters as upon the expression 
of the speaker, their sympathetic attention not only 
serving to stimulate his emotion, but adding to the vivid- 
ness and reality of the play. 

Observe the colons ; they always indicate a movement, 
change of key, or some stage business. 

All aphorisms, maxims, or great moral truths, as for 
example, ''The quality of mercy is not strained," should 
be given to the front, never addressed to those on the 
stage, for their appeal is universal. 

Inflections. The teacher should not require the pupils 



O.V LITERARY INTERPRETATION 19 

to imitate her reading, but she should bring out the 
thought or obtain the inflection desired by questions. 
For instance, line 173, Act IV, is seldom read cor- 
rectly: ''The quality of mercy is not strained," not 
"the quality of mercy.'' The subject of the sentence is 
the whole phrase quality of mercy, not simply the word 
mercy. Care must be exercised not to make these drills 
too long; for expression is a matter of emotional and 
intellectual development and cannot be forced. The 
understanding and appreciation that gradually come 
from familiarity with the drama invariably result in 
tonal variety and better inflections. Close questioning 
is always necessary to bring out the subtle ideas in the 
''Mercy Speech," the emotional and intellectual value 
of which is lost unless the pupil's attention is directed 
to the well-balanced contrast between the spiritual and 
material attributes. 

Often the substitution of another word, as kindness 
or gentleness for mercy in line 182, Act IV, will assist 
the pupil in acquiring the inflection necessary to the 
expression, and when the tonal quality is recognized it 
can be applied to the original word. 

To give the full expressional value to a word, it is 
necessary not only to have a knowledge of its ordinary 
meaning, but an appreciation of all that is implied in 
the context. This is particularly true of verbs and 
adverbs; adjectives can be depended upon to take care 
of themselves. 

Subordinate the personal pronouns, except where 
emphasis is necessary to mark a distinction. It is par- 
ticularly necessary that this rule be observed in the 
usage of the possessive my, which in Shakespeare is 
read mi, except when contrasted with thy. 

Speech Tunes. A drill in speech tunes, illustrating 



20 0^ LITERARY INTERPRETATION 

that it is not what we say, but the way we say it which 
makes us agreeable or offensive, is a splendid prepara- 
tion for the '^ Trial Scene." For example, take the 
following sentence: 

Edith came home last year. Parts of the sentence of 
equal value. 

Edith came home last year. Compels attention upon 
the person. 

Edith came home last year. Fixes attention upon the 
place. 

Edith came home last year. Sets out the particular 
year. 

She came home last year. Emphasizes the time. 

To illustrate the infinite variations and shades of 
thought which are conveyed through tone, ask the pupil 
a question to be answered with the monosyllable ''yes" 
or "no," in anger, fear, pleasure, etc. For example: 
''Did you go to the woods Saturday?" Let the first 
"Yes" indicate he had a pleasant day; the second, that 
he went without permission and fears punishment; the 
third, that he did not enjoy himself; and the fourth, 
that he has disobeyed and is defiant. 

This drill will be found especially helpful as a 
preparation for some of the speeches of Shylock and 
Gratiano in Act IV, where the latter often employs the 
Jew 's words but with a very different effect. 

The artificial quality which generally marks the read- 
ing of the opening phrase of Shylock 's speech beginning 
with line 11, Act I, Scene II, can usually be overcome if 
the pupil is told to read "No, no, no, no," down the scale 
with regular intervals. It is simply a matter of apply- 
ing a principle learned in the music lesson to the reading 
class. The introductory "Oh," being an expression of 
surprise, of course, takes an upward inflection„ 



ON LITERARY INTERPRETATION 21 

In reading a series of clauses closely related, as in 
lines 30 to 32/ the same scene, instead of cautioning the 
pupil ''not to let his voice fall" at the end of each 
phrase, suggest that while reading one he think of the 
next, the mind always just preceding the voice as it 
does in running the scale. That he may better under- 
stand what is required have him count the seats in a 
row, or the windows in the room, and, he will quickly 
note that the tone is suspended until he reaches the 
last object, particularly if he is suddenly stopped in 
the midst of his counting. 



VENICE 

Of all the cities of the world none is more fittingly 
associated with romance and story than Venice, the Paris 
of the middle ages. Built on many little islands, in a 
bay of the Adriatic sea, then as now it was unique 
among cities because of its canals, which serve as thor- 
oughfares. Darting here and there on their waters, 
and adding to the picturesque scene, are many gondolas, 
that serve to make accessible every section of the city. 
Spanning the canals, and linking together the islands, 
are hundreds of bridges, of such exquisite design and 
perfect construction that they are still regarded as 
examples of architectural beauty. 

It must have been a fascinating sight on a summer 
evening, in the long ago, to stand on one of those bridges 
and watch the parties of merrymakers gliding past in 
graceful gondolas, the beautiful gowns of the women 
hardly rivaling in the richness of their texture and 
brilliant coloring the costumes of the men. 

Venice was then "Queen of the Sea," a great com- 
mercial power; a city of merchant princes, whose 
vessels traded in every port of the world. Although 
highly able business men, their interests did not all lie 
in commercial pursuits, but they manifested a ^ rare 
appreciation of art in all of its forms. Every induce- 
ment was offered, not only by private citizens, but by 
city authorities, to encourage artists and skilled crafts- 
men to locate there. 

The Venetians were proud of their city and took great 
delight in its improvement, particularly in the erection 
of beautiful buildings. As a result it is today noted 
for its wealth of art treasures, beautiful old palaces, and 
magnificent churches, 

23 



CHARACTERS REPRESENTED 

The Duke of Venice, 

The Prince of Morocco, ] „,. -.^^^ +^ i>^^+,-„ 
rr T-> A ( suitors to Fortia. 

The Prince of Arragon, j 

Antonio, a merchant of Venice. 

Bassanio, his friend, suitor to Portia. 

Salanio, 1 

Salarino, 

Lorenzo, >■ friends to Antonio and Bassanio. 

Gratiano, 

Salerio, J 

Shylock, a rich Jew. 

Tubal, a Jew, his friend. 

Launcelot Gobbo, a clown, servant to Shylock. 

Old Gobbo, father to LoAPrvcelot. 

Leonardo, servant to Bassanio. 

Portia, a rich heiress. 
Nerissa, her waiting-maid. 
Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, Jailer, 
Sei-^>ants and other attendants. 

Scene; Partly at Venice and partly at Belmont. 



THE MERCHANT OF VENICE 



AGT I. 

Scene I. Veivice. A street. 

Enter Antonio, Salarino, and Salanio. 

Ant. Id sooth, I know not why I am so sad : 
It wearies me; you say it wearies you; 
But how I caught it, found it, or came by it, 
"What stuff 't is made of, whereof it is born, 
I am to learn ; ^ 

And such a want-wit sadness makes of me. 
That I have much ado to know myself. 

During the period of the city's commercial supremacy, there 
lived in Venice a certain merchant named Antonio, in whom it 
was said the ancient Roman honor more appeared than in any 
other that drew breath in Italy. Although he was kind and 
generous, and was ever ready to assist a friend or aid the unfor- 
tunate, the merchant was not without enemies. The bitterest of 
these was Shylock, a rich Jew. Of his many friends, the one 
nearest to Antonio was his noble kinsman, Bassanio, one of the 
most highly favored and sought after gentlemen in Venice. His 
extravagant habits of living frequently plunged the young noble- 
man into financial difficulties, and more than once he had appealed 
to the generous Antonio, whose purse was ever open to his needs. 
The merchant had many friends, but he was especially popular 
with a jovial crowd of young Venetians. While always quiet 
and thoughtful, of late he had appeared even more serious than 
usual, and had abandoned all social gayeties, as if to avoid his 
friends, who often rallied him on his sadness. 
25 



26 TEE MERGE ANT OF VENICE [Act I . 

Solar. Your mind is. tossing on the ocean; 
There, where your argosies with portly sail, 
Like signiors and rich burghers on the flood, ^" 

Or, as it were, the pageants of the sea, 
Do overpeer the petty traffickers. 
That curtsy to them, do them reverence, 
As they fly by them with their woven wings. 

Salan. Believe me, sir, had I such venture forth, ^^ 
The better part of my affections would 
Be with my hopes abroad ; and every object 
That might make me fear misfortune 
To my ventures, out of doubt would make me sad. 
But tell not me : I know, Antonio ^° 

Is sad to think upon his merchandise. 

Ant. Believe me, no : I thank my fortune for it, 
My ventures are not in one bottom trusted. 
Nor to one place; nor is my whole estate 
Upon the fortune of this present year : ^^ 

Therefore my merchandise makes me not sad. 

Salar. Why, then, you are in love. 

Ant. Fie, fie! 

Salar. Not in love neither? Then let us say you 
are sad, 
Because you are not merry : and 't were as easy ^° 

For you to laugh and leap and say you are merry, 
Because you are not sad. 

Enter Bassanio, Lorenzo, and Gratiano. 

Salan. Here comes Bassanio, your most noble 
kinsman, 
Gratiano and Lorenzo. Fare ye well : 
We leave you now with better company. ^^ 

Salar. I would have stayed till I had made you 
merry, 
If worthier friends had not prevented me. 



Scene I] TEE 3IERCEANT OF VENICE 27 

Ant. Your worth is very dear in my regard. 
I take it, your own business calls on you 
And you embrace the occasion to depart. *^ 

Solar. Good morrow, my good lords., 

Bass. Good signiors both, when shall we laugh? say, 
when? 
You grow exceeding strange: must it be so? 

Salar. We'll make our leisures to attend on yours, 
[Exeunt Salarino and Salanio. 

Lor. My Lord Bassanio, since you have found 
Antonio, ^° 

We two will leave you: but at dinner-time, 
I pray you, have in mind where we must meet. 

Bass. I will not fail you. 

Gra. You look not well, Signior Antonio; 
You have too much respect upon the world: ^° 

They lose it that do buy it with much care: 
Believe me, you are marvellously changed. 

Ant. I hold the world but as the world, Gratiano ; 
A stage where every man must play a part. 
And mine a sad one. ^° 

Gra. Let me play the fool : 

With mirth and laughter let old wrinkles come. 
I tell thee what, Antonio — 
I love thee, and it is my love that speaks — 
There are a sort of men whose visages ^" 

Do cream and mantle like a standing pond, 
And do a wilful stillness entertain, 
With purpose to be dressed in an opinion 
Of wisdom, gravity, profound conceit. 
As who should say "I am Sir Oracle, ®^ 

And when I ope my lips let no dog bark!" 
O my Antonio, I do know of these 



28 THE MERCHANT OF VENICE [Act I 

That therefore only are reputed wise 

For saying nothing. 

Come, good Lorenzo. Fare ye well awhile : ^° 

I '11 end my exhortation after dinner. 

Lor. Well, we will leave you then till dinner-time: 
I must be one of these same dumb wise men, 
For Gratiano never lets me speak. 

Gra. "Well, keep me company but two years more, "^^ 
Thou shalt not know the sound of thine own tongue. 

Ant. Farewell: I '11 grow a talker for this gear. 

Gra. Thanks, i' faith, for silence is only commend- 
able 
In a neat's tongue dried. 

[Exeunt Gratiano and Lorenzo. 

Ant. Is that anything now? ^^ 

Bass. Gratiano speaks an infinite deal of nothing, 
more than any man in all Venice. His reasons are as 
two grains of wheat hid in two bushels of chaff: you 
shall seek all day ere you find them, and when you 
have them, they are not worth the search. ^^ 

Ant. Well, tell me now what lady is the same 
To whom you swore a secret pilgrimage. 
That you to-day promised to tell me of? 

Bass. 'T is not unknown to you, Antonio, 
How much I have disabled mine estate, ^^ 

By something showing a more swelling port 
Than my faint means would grant continuance: 
Nor do I now make moan to be abridged 
From such a noble rate. To you, Antonio, 
I owe the most, in money and in love, ®^ 

And from your love I have a warranty 
To unburden all my plots and purposes 
How to get clear of all the debts I owe. 



ScEXE I] THE MERCHANT OF VENICE 29 

Ant. I pray you, good Bassanio, let me know it; 
And if it stand, as you yourself still do, ^°° 

Within the eye of honor, be assured, 
My purse, my person, my extremest means, • 
Lie all unlocked to your occasions. 

Bass. In my school-days, when I had lost one shaft, 
I shot his fellow of the self -same flight ^^^ 

The self-same way with more advised watch. 
To find the other forth, and by adventuring both 
I oft found both: I urge this childhood proof, 
Because what follows is pure innocence. 
I owe you much, and, like a wilful youth, ^^^ 

That which I owe is lost ; but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt. 
As I will watch the aim, or to find both 
Or bring your latter hazard back again ^^^ 

And thankfully rest debtor for the first. 

A7it. You know me well, and herein spend but time 
To wind about my love with circumstance ; 
Then do but say to me what I should do 
That in your knowledge may by me be done, ^^^ 

And I am prest unto it: therefore, speak. 

Bass. In Belmont is a lady richly left ; 
And she is fair and, fairer than that word, 
Of wondrous virtues: sometimes from her eyes 
I did receive fair speechless messages: ^^^ 

Her name is Portia, nothing undervalued 
To Cato's daughter, Brutus' Portia: 
Nor is the wide world ignorant of her worth, 
For the four winds blow in from every coast 
Kenowned suitors. Had I but the means ^3° 

To hold a rival place with one of them. 



30 TEE MERGEANT OF VENICE [Act I 

I have a mind presages me such thrift, 
That I should questionless be fortunate ! 

Ant. Thou know'st that all my fortunes are at sea: 
Neither have I money nor commodity ^^^ 

To raise a present sum : therefore go forth ; 
Try what my credit can in Venice do : 
That shall be racked, even to the uttermost, 
To furnish thee to Belmont, to fair Portia. 
Go, presently inquire, and so will I, ^*° 

Where money is ; and I no question make 
To have it of my trust or for my sake. [Exeunt. 

On making inquiries the young men learned that the amount 
required could be obtained from but one man — Shylock, the Jew, 
who was shunned because of his business methods no less than 
by reason of his faith. 

At that time the Jews of Venice, as of all other sections of 
Europe, suffered much injustice at the hands of the Christians. 
Not only were they despised and scorned, but they were denied 
the rights of citizenship and discriminated against in the courts. 
There were many laws in operation in the city especially designed 
to restrain the privileges and restrict the rights of the Jews, and 
seldom was justice meted out to a Hebrew when in litigation 
with a Gentile. 

Deeply resenting the indignity and injustice visited upon his 
race, Shylock spent much of his time brooding over their wrongs, 
and quickly seized every opportunity to avenge them. He was 
one of the most extensive money-lenders in Venice, and the 
Christian merchants were frequently compelled to do business 
with him. Availing himself of all the privileges the law granted 
at such times, he mercilessly exacted from his debtors every cent 
coming to him the moment it was due, or else he had them cast 
into prison. 

His life was dominated by two great passions, love of race 

and love of money; and they were so closely interwoven in his 

regard it would be difficult to determine which was the stronger. 

During the long years he had borne unresistingly the taunts 

and gibes of his Christian associates on the Rialto, he had been 



Scene II] THE MERCHANT OF VENICE 31 

meditating revenge. It took various forms in his imagination at 
different times, but Antonio was always the central figure. When 
Bassanio asked for the loan, naming Antonio as surety, the Jew 
showed no surprise, nor gave any indication of the joy possessing 
his soul. But the thing he had hoped for had come to pass: 
the Christian was being delivered into his hands. 



Scene II. Venice. A public place. 
Enter Bassanio and Shylock 

SKy. Three thousand ducats; well. 

Bass. Ay, sir, for three months. 

Shy. For three months; well. 

Bass. For the which, as I told you, Antonio shall 
be bound. 

Shy. Antonio shall become bound; well. ^ 

Bass. May you stead me? will you pleasure me? 
shall I know your answer? 

Shy. Three thousand ducats for three months and 
Antonio bound. 

Bass. Your answer to that. 

Shy. Antonio is a good man. 

Bass. Have you heard any imputation to the con- 
trary?' " 

Shy. Oh, no, no, no, no : my meaning in saying he 
is a good man is to have you understand me that he 
is sufficient. Yet his means are in supposition: he 
hath an argosy bound to Tripolis, another to the In- 
dies ; I understand moreover upon the Rialto, he hath ^^ 
a third to Mexico, a fourth for England, and other 
ventures he hath, squandered abroad. But ships are 
but boards, sailors but men: there be land-rats and 
water-rats, land- thieves and water-thieves, I mean 
pirates, and then there is, too, the peril of waters, ^^ 



32 TEE MERCHANT OP VENICE [Act I 

winds and rocks. The man is, notwithstanding, suffi- 
cient. Three thousand ducats; I think I may take his 
bond. 

Bass. Be assured you may. 

Shy. I will be assured I may ; and, that I may be ^^ 
assured* I will bethink me. May I speak with Antonio ? 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork; to eat of the habitation 
which your prophet the Nazarite conjured the devil into. 
I will buy with you, sell with you, talk with you, ^° 
walk with you, and so following ; but I will not eat with 
you, drink with you, nor pray with you. What news 
on the Rialto ? Who is he comes here ? 
Filter Antonio. 

Bass. This is Signior Antonio. 

Shy. [Aside.] How like a fawning publican he 
looks ! '^ 

I hate him for he is a Christian ; 
But more for that in low simplicity 
He lends out money gratis, and brings down 
The rate of usance here with us in Venice. 
If I can catch him once upon the hip, *° 

I will feed fat the ancient grudge I bear him. 
He hates our sacred nation ; and he rails. 
Even there where merchants most do congregate, 
On me, my bargains and my well-won thrift, 
"Which he calls interest. Cursed be my tribe, *^ 

If I forgive him! 

Bass. Shylock, do you hear? 

Shy. 1 am debating of my present store ; 
And, by the near guess of my memory, 
I cannot instantly raise up the gross ^^ 

Of full three thousand ducats. What of that? 
Tubal, a wealthy Hebrew of my tribe, 



Scene 11] THE MERCHANT OF VENICE 33 

Will furnish me. But soft! how many months 

Do you desire? [To Ant.] Rest you fair, good signior ; 

Your worship was the last man in our mouths. ^^ 

Ant. Shylock, although I neither lend nor borrow 
By taking nor by giving of excess, 
Yet, to supply the ripe wants of my friend, 
I'll break a custom. — Is he yet possessed 
How much you would ? ^° 

Shy. Ay, ay, three thousand ducats. 

Ant. And for three months. 

Shy. 1 had forgot, three months, you told me so. 
Well then, your bond : and let me see, — but hear you ; 
Methought you said you neither lend nor borrow ®^ 

Upon advantage. 

Ant. I do never use it. 

Shy. When Jacob grazed his uncle Laban's sheep — 
This Jacob from our holy Abram was, 
As his wise mother wrought in his behalf, ^^ 

The third possessor ; ay, he was the third — 

Ant. And what of him ? did he take interest ? 

Shy. No, not take interest, not, as you would say. 
Directly interest : mark what Jacob did. 

Ant. Mark you this, Bassanio, ^^ 

The Devil can cite Scripture for his purpose. 
An evil soul producing holy witness 
Is like a villain with a smiling cheek, 
A goodly apple rotten at the heart : 
0, what a goodly outside falsehood hath! ^° 

Shy. Three thousand ducats ; 't is a good round 
sum. 
Three months from twelve, — then, let me see, the rate — 

Ant. Well, Shylock, shall we be beholding to you? 

Shy. Signior Antonio, many a time, and oft 
In the Rialto, you have rated me ^^ 



34 TEE MERCEANT OF VENICE Act I 

About my moneys and my usances: 

Still have I borne it with a patient shrug, 

For sufferance is the badge of all our tribe. 

You call me misbeliever, cut-throat, dog, 

And spit upon my Jewish gaberdine, ^^ 

And all for use of that which is mine own. 

Well then, it now appears you need my help : 

Go to, then ; you come to me, and you say 

*' Shy lock, we would have moneys:" you say so, 

You, that did void your rheum upon my beard ^^ 

And foot me as you spurn a stranger cur 

Over your threshold: moneys is your suit. 

What should I say to you ? Should I not say 

''Hath a dog money? is it possible 

A cur can lend three thousand ducats ? " Or ^°° 

Shall I bend low and in a bondman's key, 

With 'bated breath and whispering humbleness, 

Say this, — 

"Fair sir, you spit on me on Wednesday last; 

You spurned me such a day ; another time ^^^ 

You called me dog; and for these courtesies 

I'll lend you thus much moneys"? 

Ant. I am as like to call thee so again. 
To spit on thee again, to spurn thee too. 
If thou wilt lend this money, lend it not ^^^ 

As to thy friend ; for when did friendship take 
A breed for barren metal of his friend ? 
But lend it rather to thine enemy. 
Who, if he break, thou mayst with better face 
Exact the penalty. ^^^ 

Shy. Why, look you, how you storm ! 

I would be friends with you and have your love. 
Forget the shames that you have stained me with, 
Supply your present wants and take no doit 



Scene II] THE MERCHANT OF VENICE 35 

Of usance for my moneys, and you '11 not hear me : ^^^ 
This is kind I offer. 

Bass. This were kindness. 

Shy. This kindness will I show: 

Go with me to a notary, seal me there 
Your single bond ; and, in a merry sport, ^^^ 

If you repay me not on such a day, 
In such a place, such sum or sums as are 
Express 'd in the condition, let the forfeit 
Be nominated for an equal pound 
Of your fair flesh, to be cut off and taken ^^° 

In what part of your body pleaseth me. 

Ant. Content, in faith ; I '11 seal to such a bond. 
And say there is much kindness in the Jew. 

Bass. You shall not seal to such a bond for me : 
I '11 rather dwell in my necessity. ^^^ 

Ant. Why, fear not, man; I will not forfeit it: 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 

Shy. father Abram, what these Christians are, ^*° 
Whose own hard dealings teaches them suspect 
The thoughts of others ! Pray you, tell me this ; 
If he should break his day, what should I gain 
By the exaction of the forfeiture? 

A pound of man 's flesh taken from a man ^*^ 

Is not so estimable, profitable neither. 
As flesh of muttons, beefs, or goats. I say. 
To buy his favor I extend this friendship: 
If he will take it, so ; if not, adieu ; 
And, for my love, I pray you wrong me not. ^^° 

Ant. Yes, Shylock, I will seal unto this bond. 

Shy. Then meet me forthwith at the notary 's ; 
Give him direction for this merry bond. 



36 THE MERCHANT OF VENICE [Act I 

And I will go and purse the ducats straight; 

See to my house, left in the fearful guard ^®^ 

Of an unthrifty knave, and presently 

I will be with you. 
Aiit. Hie thee, gentle Jew. 

[Exit ShylocTc. 

The Hebrew will turn Christian: he grows kind. 
Bass. I like not fair terms and a villain's mind. ^^*^ 
Ant. Come on : in this there can be no dismay ; 

My ships come home a month before the day. [Exeunt. 



The Heiress 

Portia, the lady whom Bassanio sought for his wife, was an 
orphan and one of the richest noblewomen of her time. She lived 
at Belmont, a beautiful country seat not far removed from 
Venice, and had for her companion a gentlewoman named Nerissa. 

Upon the death of her father, Portia came into possession of 
a vast estate, over which the terms of his will gave her entire 
control. Strangely enough, however, this same paper denied her 
the right to choose her husband. 

The father knew his daughter's great wealth would attract 
many suitors, among them fortune hunters, whose motives Portia's 
nobility of character would prevent her from suspecting. To save 
her from these, he decided to intrust her destiny to fate, so 
devised a lottery whereby she should be won, believing only an 
honorable man would rightly read his meaning. He selected three 
beautiful caskets, one each of gold, silver, and lead, which were 
masterpieces of the metal worker's art. Each bore a quaint but 
appropriate inscription, designed to confuse rather than assist 
the suitors in their choice, and in one he placed his daughter's 
portrait. The one choosing this casket was, of course, entitled 
to claim the heiress for his bride. 

At times Portia feared the outcome of this clever device, for 
of the many suitors wlio had come none had she desired for her 
husband. Yet she never doubted her father's wisdom, nor intended 
to disobey his commands. This last she could easily have done. 



Scene III] TEE MERCEANT OF VENICE 37 

for he had confided to her his secret, but having promised not to 
betray it, she was too honorable to break her word, even to 
marry the man she loved. 

Each day witnessed the arrival at Belmont of new suitors, who 
strove to excel one another in the splendor of their attire and 
magnificence of their retinues. It was a motley assembly, gath- 
ered from all quarters of the globe, the great hall of the palace 
presenting the spectacular appearance of a fete of the nations, 
as the swarthy Moors mingled with the blue-eyed Saxons and 
fair-haired Danes. More than one was compelled to do his wooing 
through an interpreter, but each was received with marked cour- 
tesy by the gracious Portia, although she was bored and weary 
of them all. 



Scene III. Behnoni. A room in Portia's house. 
Enter Portia and Nerissa. 

For. By my troth, Nerissa, my little body is aweary 
of this great world. 

Ner. You would be, sweet madam, if your miseries 
were in the same abundance as your good fortunes 
are: and yet, for aught I see, they are as sick that ^ 
surfeit with too much as they that starve with nothing. 
It is no small happiness, therefore, to be seated in the 
mean: superfluity comes sooner by white hairs, but 
competency lives longer. 

For. Good sentences and well pronounced. ^*^ 

Ner. They would be better, if well followed. 

For. If to do were as easy as to know what were 
good to do, chapels had been churches and poor men's 
cottages princes' palaces. It is a good divine that fol- 
lows his own instructions : I can easier teach twenty ^^ 
what were good to be done, than be one of the twenty 
to follow mine own teaching. The brain may devise 



38 TEE MERCEANT OF VENICE [Act I 

laws for the blood, but a hot temper leaps o'er a cold 
decree: such a hare is madness the youth, to skip o'er 
the meshes of good counsel the cripple. But this ^^ 
reasoning is not in the fashion to choose me a husband. 

me, the word choose! I may neither choose whom 

1 would nor refuse whom I dislike; so is the will of a 
living daughter curbed by the will of a dead father. 
Is it not hard, Nerissa, that I cannot choose one ^^ 
nor refuse none? 

Ner. Your father was ever virtuous ; and holy men 
at their death have good inspirations: therefore the 
lottery, that he hath devised in these three chests of 
gold, silver, and lead, whereof who chooses his mean- ^^ 
ing chooses you, will, no doubt, never be chosen by 
any rightly but one who you shall rightly love. But 
what warmth is there in your affection towards any of 
these princely suitors that are already come? 

Por. I pray thee, over-name them; and as thou ^^ 
namest them, I will describe them; and, according to 
my description, level at my affection. 

Ner. First, there is the Neapolitan prince. 

Por. Ay, that's a colt indeed, for he doth nothing 
but talk of his horse ; and he makes it a great appro- *° 
priation to his own good parts, that he can shoe him 
himself. 

Ner. Then there is the County Palatine. 

Por. He doth nothing but frown, as who should 
say *'If you will not have me, choose:" he hears *^ 
merry tales and smiles not: I fear he will prove the 
weeping philosopher when he grows old, being so full 
of unmannerly sadness in his youth. I had rather be 
married to a death's-head with a bone in his mouth 
than to either of these. God defend me from these ^^ 
two! 



ScEXE III] TEE MERCEANT OF VENICE 39 

Ner. How say you by the French lord, Monsieur 
Le Bon? 

For. God made him, and therefore let him pass for 
a man. In truth, I know it is a sin to be a mocker: ^^ 
but, he! why, he hath a horse better than the Neapo- 
litan's, a better bad habit of frowning than the Count 
Palatine; he is every man in no man; if a throstle 
sing, he falls straight a capering: he will fence with 
his own shadow: if I should marry him, I should ®°. 
marry twenty husbands. If he would despise me, I 
would forgive him, for if he love me to madness, I shall 
never requite him. 

Ner. "What say you, then, to Falconbridge, the young 
baron of England ? ®^ 

Por. You know I say nothing to him, for he under- 
stands not me, nor I him : he hath neither Latin, French, 
nor Italian, and you will come into thei court and 
swear that I have a poor pennyworth in the English. 
He is a proper man's picture, but, alas, who can ^^ 
converse with a dumb-show? How oddly he is suited! 
I think he bought his doublet in Italy, his round hose 
in France, his bonnet in Germany, and his behavior 
every where. 

Ner. What think you of the Scottish lord, his ^^ 
neighbor ? 

Por. That he hath a neighborly charity in him, for 
he borrowed a box of the ear of the Englishman and 
swore he would pay him again when he was able: I 
think the Frenchman became his surety and sealed ^^ 
under for another. 

Ner. How like you the young German, the Duke 
of Saxony's nephew? 

Por. Very vilely in the morning, when he is sober, 
and most vilely in the afternoon, when he is drunk: ^^ 



40 TEE MERCHANT OF VENICE [Act I 

when he is best, he is a little worse than a man, and 
when he is worst, he is little better than a beast: an 
the worst fall that ever fell, I hope I shall make shift 
to go without him. 

Ner. If he should offer to choose, and choose the ^^ 
right casket, you should refuse to perform your father's 
will, if you should refuse to accept him. 

Pot. Therefore, for fear of the worst, I pray thee, 
set a deep glass of Ehenish wine on the contrary casket, 
for if the Devil be within and that temptation ^^ 
without, I know he will choose it. I will do anything, 
Nerissa, ere I'll be married to a sponge. 

Ner. You need not fear, lady, the having any of 
these lords: they have acquainted me with their de- 
terminations; which is, indeed, to return to their ^°*^ 
home and to trouble you with no more suit, unless you 
may be won by some other sort than your father's 
imposition depending on the caskets. 

Pot. If I live to be as old as Sibylla, I will die as 
chaste as Diana, unless I be obtained by the manner ^°^ 
of my father's will. I am glad this parcel of wooers 
are so reasonable, for there is not one among them but 
I dote on his very absence, and I pray God grant them 
a fair departure. 

Ner. Do you not remember, lady, in your father 's ^^° 
time, a Venetian, a scholar and a soldier, that came 
hither in company of the Marquis of Montferrat? 

For. Yes, yes, it was Bassanio, — as I think, so was 
he called. 

Ner. True, madam: he, of all the men that ever ^^^ 
my foolish eyes looked upon, was the best deserving a 
fair lady. 

For. I remember him well, and I remember him 
worthy of thy praise. 



Scene III] TEE MERCEANT OF VENICE 41 

Enter a Serving-Man. 
How now! What news? 120 

Serv. The fonr strangers seek for you, madam, to 
take their leave: and there is a forerunner come from 
a fifth, the Prince of Morocco, who brings word the 
Prince his master will be here to-night. 

For. If I could bid the fifth welcome with so good ^^^ 
a heart as I can bid the other four farewell, I should 
be glad of his approach: if he had the condition of a 
saint and the complexion of a devil, I had rather he 
should shrive me than wive me. 

Come, Nerissa. Sirrah, go before. ^^^ 

While we shut the gates upon one wooer, another knocks 

at the door. [Exeunt. 

Choosing the Caskets 

A great flourish of cornets announced the arrival of the Prince 
and his party, who presented a most gorgeous appearance. All 
wore their native costumes, and the bright colors of their dress, 
and rich jewels were in vivid contrast to their black skins. 

Portia pointed out "the several caskets to this noble Prince," 
saying: 

' ' The one of them contains my picture. Prince : 
If you choose that, then I am yours withal." 

The Prince first paused before the gold casket, which bore 
the inscription, "Who chooseth me shall gain what many men 
desire;" the silver one promised, "Who chooseth me shall get as 
much as he deserves;" and on the lead one was the warning, 
"Who chooseth me must give and hazard all he hath." His 
choice alighted on the gold one, and on unlocking it he found a 
death's head, "within whose empty eye" there was a scroll. Un- 
rolling it he read: 



42 THE MERCHANT OF VENICE [Act I 

'^All that glitters is not gold, — 
Often have you heard that told: 
Many a man his life hath sold, 
But my outside to behold: 
Gilded tombs do worms unfold. 
Had you been as wise as bold. 
Young in limbs, in judgments old, 
Your answer had not been unscroU'd 
Fare you well; your suit is cold." 

The dusky nobleman took a hasty departure, much to Portia's 
delight, soon to be followed by the Prince of Arragon. 

Before being permitted to view the caskets, each suitor was 
"enjoin'd by oath" never to unfold to any one which casket it was 
^he chose; if he failed of the right casket never in his life to woo 
a maid in way of marriage; and if he failed in fortune of his 
choice immediately to leave. Having taken the oath, the Prince 
thoughtfully pondered the inscriptions on the caskets. His choice 
was the silver one. On opening it he was most indignant to find 
"the portrait of a blinking idiot," presenting a scroll bearing this 



''The fire seven times tried this: 
Seven times tried that judgment is 
That did never choose amiss. 
Some there be that shadows kiss; 
Such have but a shadow's bliss. 
There be fools alive, I wis, 
Silver 'd o'er; and so was this." 

Hardly had the gates of Belmont closed on the haughty Spanish 
prince, when a forerunner announced the approach of a young 
Venetian nobleman. 



ACT II 

Scene I. Venice. A street. 

Enter Launcelot. 

Laun. Certainly my conscience will serve me to run 
from this Jew my master. The fiend is at mine elbow 
and tempts me, saying to me ^'Gobbo, Launcelot Gobbo, 
good Launcelot, ' ' or " good Gobbo, " or ' ' good Launcelot 
Gobbo, use your legs, take the start, run away/' ^ 
My conscience says "No; take heed, honest Launcelot; 
take heed, honest Gobbo, budge not." ''Budge," says 
the fiend. ''Budge not," says my conscience. "Con- 
science," say, I, "you counsel well;" "Fiend," say I, 
"you counsel well:" to be ruled by my conscience, ^° 
I should stay with the Jew my master ; and, to run away 
from the Jew, I should be ruled by the fiend. My 
conscience is but a kind of hard conscience, to offer to 
counsel me to stay with the Jew. The fiend gives the 
more friendly counsel : I will run, fiend ; my heels are ^^ 
at your command; I will run. 

Enter Old Gobbo, with a basket. 

Shylock had amassed a fortune loaning money to the Chris- 
tians at excessive interest, and was able to enjoy every luxury; 
but he denied himself even the comforts of life. With his daugh- 
ter Jessica, his only child, he lived in the most penurious style, 
in a shabby old house in a mean quarter of the city, his only 
servant being a clownish lad, Launcelot Gobbo. 
43 



44 TEE MERCHANT OF VENICE [Act II 

Goh. Master young man, you, I pray you, which is 
the way to master Jew's? 

Laun. [Aside.] heavens, this is my true-begotten 
father ! who, being more than sand-blind, high-gravel ^^ 
blind, knows me not: I will try confusions with him. 

Goh. Master young gentleman, I pray you, which 
is the way to master Jew's? 

Laun. Turn up on your right hand at the next turn- 
ing, but at the next turning of all, on your left; ^^ 
marry at the very next turning, turn of no hand, but 
turn down indirectly to the Jew's house. 

Goh. 'T will be a hard way to hit. Can you tell me 
whether one Launcelot, that dwells with him, dwell with 
him or no? ^° 

Laun. Talk you of young Master Launcelot? 
[Aside.] Mark me now; now will I raise the waters. 
Talk you of young Master Launcelot? 

Gob. No master, sir, but a poor man^s son: his father, 
though I say 't, is an honest exceeding poor man. ^^ 

Laun. "Well, let his father be what a will, we talk 
of young Master Launcelot. 

Goh. Of Launcelot, an 't please your mastership. 

Laun. Ergo, Master Launcelot. Talk not of Mas- 
ter Launcelot, father; for the young gentleman, ac- *° 
cording to Fates and Destinies and such odd sayings^ 
the Sisters Three and such branches of learning, is 
indeed deceased, or, as you would say in plain terms, 
gone to heaven. 

Goh. Marry, God forbid! the boy was the very ^^ 
staff of my age, my very prop. 

Latin. Do I look like a cudgel or a hovel-post, a 
staff or a prop? Do you know me, father? 

Goh. Alack the day, I know you not, young gentle- 



Scene I] TEE MERCEANT OF VENICE 45 

man; but I pray you, tell me, is my boy, Grod ^^ 
rest his soul, alive or dead? 

Laun. Do you not know me, father? 

Gob. Alack, sir, I am sand-blind; I know you not. 

Laun. Nay, indeed, if you had your eyes, you might 
fail of the knowing me : it is a wise father that knows ^^ 
his own child. Well, old man, I will tell you news of 
your son: give me your blessing: truth will come to 
light; murder cannot be hid long; a man's son may, 
but at length the truth will out. 

Go^. Pray you, sir, stand up : I am sure you are ^° 
not Launcelot, my boy. 

Laun. Pray you, let 's have no more fooling about 
it, but give me your blessing: I am Launcelot, your 
boy that was, your son that is, your child that shall be. 

Gob. I cannot think you are my son. ^^ 

Laun. I know not what I shall think of that: but 
I am Launcelot, the Jew's man. 

Goh. If thou be Launcelot, thou art mine own flesh 
and blood. Lord worshipped might he be ! what a beard 
hast thou got ! thou hast got more hair on thy chin ^^ 
than Dobbin my fill-horse has on his tail. 

Laun. It should seem, then, that Dobbin's tail grows 
backward : I am sure he had more hair of his tail than 
I have of my face when I last saw him. 

Goh. Lord, how art thou changed! How dost ^^ 
thou and thy master agree? I have brought him a 
present. How 'gree you now? 

Laun^ Well, well : but I have set up my rest to run 
away. My master 's a very Jew : give him a present ! 
give him a halter : I am famished in his service ; yOu ^° 
may tell every finger I have with my ribs. Father, I 
am glad you are come : give me your present to. one 



46 ^ THE MERCHANT OF VENICE [Act II 

Master Bassanio, who, indeed, gives rare new liveries: 
if I serve not him, I will run as far as God has any 
ground. rare fortune! here comes the man: to ^^ 
him, father; for I am a Jew, if I serve the Jew any 
longer. 

Enter Bassanio, with Leonardo and other followers. 

Bass. You may do so; but let it be so hasted that 
supper be ready at the farthest by five of the clock. See 
these letters delivered; put the liveries to making, ^^ 
and desire Gratiano to come anon to my lodging. 

[Exit a Servant. 

Latm. To him, father. 

Goh. God bless your worship ! 

Bass. Gramercy! wouldst thou aught with me? 

Gob. Here 's my son, sir, a poor boy, — ^^ 

Latin. Not a poor boy, sir, but the rich Jew's man; 
that would, sir, as my father shall specify — 

Goh. He hath a great infection, sir, as one would say, 
to serve — 

Latin, Indeed, the short and the long is, I serve ^°° 
the Jew, and have a desire, as my father shall specify — 

Goh. His master and he, saving your worship's rev- 
erence, are scarce cater-cousins — 

Laun-. To be brief, the very truth is that the Jew, 
having done me wrong, doth cause me, as my father, ^^^ 
being, I hope, an old man, shall frutify unto you — 

Goh. I have here a dish of doves that I would bestow 
upon your worship, and my suit is — 

Bass. One speak for both. What would you? 

Latin. Serve you, sir. '^'^^ 

Goh. That is the very defect of the matter, sir. 

Bass. I know thee well; thou hast obtained thy suit: 
Shylock thy master spoke with me this day. 
And hath preferred thee. 



Scene I] THE MERCHANT OF VENICE 47 

Bass. Go, father, with thy son. ^^^ 

Take leave of thy old master and inquire 
My lodging out. Give him a livery 
More guarded than his fellows': see it done. 

Laun. Father, in. I cannot get a service; no; I 
have ne 'er a tongue in my head. Father, come ; I '11 ^^° 
take my leave of the Jew in the twinkling of an eye. 

[Exeunt Laiincelot and old Gohho. 

Bass. I pray thee, good Leonardo, think on this: 
These things being bought and orderly bestowed, 
Eeturn in haste, for I do feast to-night 
My best-esteemed acquaintance: hie thee, go. ^^^ 

Leon. My best endeavors shall be done herein. 
Enter Gratiano. 

Gra. Signior Bassanio ! 

Bass. Gratiano ! 

Gra. I have a suit to you. 

Bass. You have obtained it. ^^^ 

Gra. You must not deny me: I must go with you 
to Belmont. 

Bass. Why, then you must. But hear thee, Gratiano ; 
Thou art too wild, too rude and bold of voice; 
Parts that become thee happily enough ^^^ 

And in such eyes as ours appear not faults; 
But where thou art not known, why, there they show 
Something too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit, lest through thy wild behavior ^^^ 
I be misconstrued in the place I go to. 
And lose my hopes. 

Gra. Signior Bassanio, hear me: 

If I do not put on a sober habit, 
Talk with respect and swear but now and then, ^*^ 



48 THE MERCHANT OF VENICE [Act II 

Wear prayer-books in my pocket, look demurely, 
Nay more, while grace is saying, hood mine eyes 
Thus with my hat, and sigh and say Amen, 
Never trust me more. 

Bass. Well, we shall see your bearing. ^^° 

Gra. Nay, but I bar to-night : you shall not gauge me 
By what we do to-night. 

Bass. No, that were pity: 

I would entreat you rather to put on 
Your boldest suit of mirth, for we have friends ^^^ 

That purpose merriment. But fare you well: 
I have some business. 

Gra. And I must to Lorenzo and the rest : 
But we will visit you at supper-time. [Exeunt. 



ACT III. 

Scene I. Venice. A street. 
Enter Salanio and Salarino. 

Salan. Now, what news on the Rialto? 

Salar. Why, yet it lives there unchecked that An- 
tonio hath a ship of rich lading wracked on the narrow 
seas ; the Groodwins, I think they call the place ; a very 
dangerous flat, and fatal, where the carcases of many ^ 
a tall ship lie buried, as they say, if my gossip report 
be an honest woman of her word. 

Salan. I would she were as lying a gossip in that 
as ever knapped ginger or made her neighbors believe 

Jessica, Shyloek's motherless daughter, found life very dull in 
her father's gloomy old house, and often longed to join the 
throngs of merrymakers who passed their home. Among these 
she had frequently observed the Gentile youth, Lorenzo. Attracted 
by Jessica's beauty, with the assistance of Launcelot, this young 
man finally succeeded in making her acquaintance, and later 
induced her to elope with him. To prevent discovery, Jessica 
dressed as a boy, and took with her enough of Shyloek's money 
and jewels to buy herself the beautiful things for which she had 
always longed. 

The marriage of his daughter to a Gentile increased Shyloek's 
hatred of the Christians until his only thought was one of revenge. 
He had endured with seeming patience their scorn and mockery, 
but tills last shame and humiliation they had put upon him was 
too much, and he determined to avenge the wrongs of himself 
and people by demanding his pound of flesh from Antonio, whose 
ships with their rich cargoes, one by one, had been reported lost. 
49 



50 TEE MERCHANT OF VENICE [Act III 

she wept for the death of a third husband. But it ^^ 
is true, without any slips of prolixity or crossing the 
plain highway of talk, that the good Antonio, the honest 

Antonio, that I had a title good enough to keep 

his name company! — 

Salar. Come, the full stop. ^^ 

Salan. Ha! what sayest thou? Why, the end is, 
he hath lost a ship. 

Salar. I would it might prove the end of his losses. 

Salan. Let me say Amen betimes, lest the devil 
cross my prayer, for here he comes in the likeness of ^^ 
a Jew. 

Enter Shylock. 
How now, Shylock! what news among the merchants? 

Shy. You knew, none so well, none so well as you, 
of my daughter's flight. 

Salar. That 's certain: I, for my part, knew the ^^ 
tailor that made the wings she flew withal. 

Salan. And Shylock, for his own part, knew the 
bird was fledged. 

Shy. My own flesh and blood to rebel ! 

Salar. There is more difference between thy flesh ^° 
and hers than between jet and ivory; more between 
your bloods than there is between red wine and Rhenish. 
But tell us, do you hear whether Antonio- have had any 
loss at sea or no? 

Shy, There I have another bad match: a bank- ^^ 
rupt, a prodigal, who dare scarce show his head on the 
Rialto; a beggar, that was used to come so smug upon 
the mart ; let him look to his bond : he was wont to call 
me usurer ; let him look to his bond : he was wont to lend 
money for a Christian courtesy; let him look to his *° 
bond. 



Scene I] THE MERCHANT OF VENICE 51 

Salar. Why, I am sure, if he forfeit, thou wilt not 
take his flesh: what 's that good for? 

Shy. To bait fish withal : if it will feed nothing else, 
it will feed my revenge. He hath disgraced me, *^ 
and hindered me half a million; laughed at my losses, 
mocked at my gains, scorned my nation, thwarted my 
bargains, cooled my friends, heated mine enemies; and 
what 's his reason ? I am a Jew. Hath not a Jew eyes ? 
hath not a Jew hands, organs, dimensions, senses, ^^ 
affections, passions? fed with the same food, hurt with 
the same weapons, subject to the same diseases, healed 
by the same means, warmed and cooled by the same 
winter and summer, as a Christian is ? If you prick us, 
do we not bleed? if you tickle us, do we not laugh? ^^ 
if you poison us, do we not die? and if you wrong us, 
shall we not revenge ? If we are like you in the rest, we 
will resemble you in that. If a Jew wrong a Christian, 
what is his humility? Kevenge. If a Christian wrong 
a Jew, what should his sufferance be by Christian ^^ 
example? Why, revenge. The villany you teach me, I 
will execute, and it shall go hard but I will better the 
instruction. 

Enter a Servant. 

Se-rv. Gentlemen, my master Antonio is at his house 
and desires to speak with you both. ^^ 

Salar. We have been up and down to seek him. 
Enter Tubal. 

Salan. Here comes another of the tribe : a third can- 
not be matched, unless the Devil himself turn Jew. 

[Exeunt Salan., Salar., and Servant. 

Shy. How now. Tubal ! what news from Genoa ? hast 
thou found my daughter? ^° 

Tuh. I often came where I did hear of her, but can- 
not find her. 



52 THE MERCHANT OF VENICE [Act III 

Shy, "Why, there, there, there, there! a diamond 
gone, cost me two thousand ducats in Frankfort! The 
curse never fell upon our nation till now ; I never felt ^^ 
it till now: two thousand ducats in that; and other 
precious, precious jewels. I would my daughter were 
dead at my foot, and the jewels in her ear! would she 
were hearsed at my foot, and the ducats in her coffin! 
No news of them ? Why, so.: and I know not what 's ^° 
spent in the search : why, thou loss upon loss ! the thief 
gone with so much, and so much to find the thief; and 
no satisfaction, no revenge: nor no ill luck stirring but 
what lights on my shoulders ; no sighs but of my breath- 
ing; no tears but of my shedding. ^° 

Tub. Yes, other men have ill luck too: Antonio, as 
I heard in Genoa, — 

Shy. What, what, what? ill luck, ill luck? 

Tub. Hath an argosy cast away, coming from 
Tripolis. 9*^ 

Shy, I thank God, I thank God. Is 't true, is 't 
true? 

Tub. I spoke with some of the sailors that escaped 
the wrack. 

Shy. I thank thee, good Tubal: good news, good ^^ 
news ! ha, ha ! where ? in Genoa ? 

Tub. Your daughter spent in Genoa, as I heard, in 
one night fourscore ducats. 

Shy. Thou stick 'st a dagger in me: I shall never 
see my gold again: fourscore ducats at a sitting! ^°^ 
fourscore ducats! 

Tut. There came divers of Antonio's creditors in 
my company to Venice, that swear he cannot choose 
but break. 

Shy. I am very glad of it : I '11 plague him ; I '11 ^^^ 
torture him : I am glad of it. 



Scene II] TEE MERCEANT OF VENICE 53. 

Tub. One of them showed me a ring that he had of 
your daughter for a monkey. 

Shy. Out upon her! Thou torturest me, Tubal: it 
was my turquoise; I had it of Leah when I was a ^^° 
bachelor: I would not have given it for a wilderness 
of monkeys. 

Till). But Antonio is certainly undone. 

Shy. Nay, that 's true, that 's very true. Go, Tubal, 
fee me an officer; bespeak him a fortnight before. ^^^ 
I- will have the heart of him, if he forfeit; for, were 
he out of Venice, I can make what merchandise I will. 
Go, go, Tubal, and meet me at our synagogue ; go, good 
Tubal; at our synagogue, Tubal. [Exeunt. 

The noble Venetian, said to be approaching Belmont, was 
Bassanio. In those days when a gentleman paid court to a lady 
of Portia's rank, he did not go alone, but was accompanied by 
one or two companions and a number of servants. The journey 
was made in great state, the gentleman's attire, that of his com- 
panions, and the servant's liveries being as mag-nificent as his 
circumstances would permit. And it was the means to thus 
furnish him forth which compelled Bassanio to seek a loan from 
Antonio. At last his arrangements all completed, he bade his 
friends good-by, and accompanied by Gratiano set forth for Bel- 
mont, with an imposing train and many beautiful presents. 

Portia was always gracious to her guests, but the warmth of 
her welcome to Bassanio far exceeded that extended to any of 
her previous suitors. Impatient to know his fate the young 
nobleman soon urged that he be permatted to take his oath and 
view the caskets; but fearing he might not choose aright, and not 
wishing to lose his company, Portia urged him to wait. 

Scene II. Belmont. A room in Portia's house. 

Enter Bassanio, Portia, Gratiano, Nerissa, and 
Attendants. 
For. I pray you, tarry : pause a day or two 



54 THE MERCHANT OF VENICE [Act III 

Before you hazard ; for, in choosing wrong, 

I lose your company: therefore forbear awhile. 

There's something tells me, but it is not love, 

I would not lose you; and you know yourself, ^ 

Hate counsels not in such a quality. 

I speak too long ; but 't is to peise the time, 

To eke it and to draw it out in length, 

To stay you from election. 

Bass. Let me choose; ^^ 

For as I am, I live upon the rack. 

Pot. Away, then! I am locked in one of them: 
If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound w^hile he doth make his choice ; ^^ 

Then, if he lose, he makes a swan-like end. 
Fading in music ; that the comparison 
Mstf stand more proper, my eye shall be the stream 
And watery death-bed for him. 

Music, whilst Bassanio comments on the caskets to 
himself. 

Song. 

Tell me where is fancy bred, ^° 

Or in the heart or in the head? 

How begot, how nourished? 
Reply, reply. 

It is engendered in the eyes. 

With gazing fed ; and fancy dies ^® 

In the cradle where it lies. 

Let us all ring fancy's knell: 
I '11 begin it, — Ding, dong, bell. 

All. Ding, dong, bell. 



Scene II] THE MERCHANT OF VENICE 55 

Bass. So may the outward shows be least them- 
selves : ^° 
The world is still deceived with ornament. 
There is no vice so simple but assumes 
Some mark of virtue on his outward parts. 
Thus ornament is but the guiled shore 
To a most dangerous sea; the beauteous scarf ^^ 
Veiling an Indian beauty; in a word, 
The seeming truth which cunning times put on 
To entrap the wisest. Therefore, thou gaudy gold. 
Hard food for Midas, I will none of thee; 
Nor none of thee, thou pale and common drudge *° 
'Tween man and man : but thou, thou meager lead, 
Which rather threat 'nest than dost promise aught. 
Thy paleness moves me more than eloquence ; 
And here choose I: joy be the consequence! 

Par. [Aside.] love, *^ 

Be moderate; allay thy ecstasy; 
In measure rein thy joy; scant this excess. 
I feel too much thy blessing: make it less. 
For fear I surfeit. 

Bass. What find I here? «« 

[Opening the leaden casket. 
Fair Portia's counterfeit! What demi-god 
Hath come so near creation? Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
Doth limp behind the substance. Here 's the scroll, ^^ 
The continent and summary of my fortune. 

[Beads.] You that choose not by the view, 
Chance as fair and choose as true ! 
Since this fortune falls to you, 



56 TEE MERCEANT OF VENICE [Act III 

Be content and seek no new. ^^ 

If you be well pleased with this 
And hold your fortune for your bliss, 
Turn you where your lady is 
And claim her with a loving kiss. 

A gentle scroll. Fair lady, by your leave ; ^^ 

I come by note, to give and to receive. 
As doubtful whether what I see be true, 
Until confirmed, signed, ratified by you. 

For. You see me. Lord Bassanio, where I stand. 
Such as I am : though for myself alone ^° 

I would not be ambitious in my wish, 
To wish myself much better; yet, for you 
I would be trebled twenty times myself ; 
A thousand times more fair, ten thousand times 
More rich: ^^ 

That only to stand high in your account, 
I might in virtues, beauties, livings, friends, 
Exceed account. But the full sum of me 
Is sum of nothing; which, to term in gross, 
Is an unlessoned girl, unschooled, unpractised; ^^ 

Happy in this, she is not yet so old 
But she may learn; happier than this. 
She is not bred so dull but she can learn ; 
Happiest of all is that her gentle spirit 
Commits itself to yours to be directed, ^^ 

As from her lord, her governor, her king. 
Myself and what is mine to you and yours 
Is now converted: but now I was the lord 
Of this fair mansion, master of my servants, 
Queen o'er myself; and even now, but now, ®° 

This house, these servants and this same myself 
Are yours, my lord: I give them with this ring; 



Scene II] TEE MERCHANT OF VENICE 57 

Which when you part from, lose, or give away, 

Let it presage the ruin of your love 

And be my vantage to exclaim on you. ^^ 

Bass. Madam, you have bereft me of all words, 
But when this ring 

Parts from this finger, then parts life from hence : 
O, then be bold to say Bassanio 's dead! 

Ner. My lord and lady, it is now our time, ^°^ 

That have stood by and seen our wishes prosper, 
To cry, good joy : good joy, my lord and lady ! 

Gra. My Lord Bassanio and my gentle lady, 
I wish you all the joy that you can wish; 
For I am sure you can wish none from me : ^°^ 

And when your honors mean to solemnize 
The bargain of your faith, I do beseech you, 
Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a wife. 

Gra. I thank your lordship, you have got me one. ^^^ 
My eyes, my lord, can look as swift as yours ; 
You saw the mistress, I beheld the maid ; 
You loved, I loved for intermission. 
Your fortune stood upon the casket there, 
And so did mine too, as the matter falls; ^^^ 

I got a promise of this fair one here 
To have her love, provided that your fortune 
Achieved her mistress. 

Por. Is this true, Nerissa? 

Ner. Madam, it is, so you stand pleased withal. ^^° 

Bass. And do you, Gratiano, mean good faith? 

Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honored in your 
marriage. 

Gra. But who comes here? 
What, and my old Venetian friend Salerio? ^^^ 



58 THE MERCHANT OF VENICE [Act III 

Enter Lorenzo, Jessica, and Salerio, a messenger from 
Venice. 

Bass. Lorenzo and Salerio, welcome hither; 
If that the youth of my new interest here 
Have power to bid you welcome. By your leave, 
I bid my very friends and countrymen, 
Sweet Portia, welcome. ^^^ 

Pot. So do I, my lord: 

They are entirely welcome. 

Lor. I thank your honor. For my part, my lord, 
My purpose was not to have seen you here; 
But meeting with Salerio by the way, ^^^ 

He did intreat me, past all saying nay, 
To come with him along. 

Saler. I did, my lord; 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter. ^*^ 

Bass. Ere I ope his letter, 

I pray you, tell me how my good friend doth. 

Saler. Not sick, my lord, unless it be in mind; 
Nor well, unless in mind: his letter there 
"Will show you his estate. ^*^ 

Gra. Nerissa, cheer yon stranger; bid her welcome. 
Your hand, Salerio: what 's the news from Venice? 
How doth that royal merchant, good Antonio? 
I know he will be glad of our success; 
"We are the Jasons, we have won the fleece. . ^^^ 

Saler. I would you had won the fleece that he hath 
lost. 

Por. There are some shrewd contents in yon same 
paper, 
That steals the color from Bassanio 's cheek: 
Some dear friend dead; else nothing in the world 
Could turn so much the constitution ^^^ 



Scene II] TEE MERCHANT OF VENICE 59 

Of any constant man. What, worse and worse ! 
With leave, Bassanio; I am half yourself, 
And I must freely have the half of anything 
That this same paper brings you. 

Bass. sweet Portia, ^^° 

Here are a few of the unpleasant 'st words 
Than ever blotted paper! Gentle lady. 
When I did first impart my love to you, 
I freely told you, all the wealth I had 
Ean in my veins; I was a gentleman: ^^^ 

And then I told you true : and yet, dear lady, 
Eating myself at nothing, you shall see 
How much I was a braggart. When I told you 
My state was nothing, I should then have told you 
That I was worse than nothing ; for, indeed, ^^^ 

I have engaged myself to a dear friend. 
Engaged my friend to his mere enemy, 
To feed my means. Here is a letter, lady; 
The paper as the body of my friend, 
And every word in it a gaping wound, ^''^ 

Issuing life-blood. But is it true, Salerio? 
Have all his ventures failed? What, not one hit? 

Salet. Not one, my lord. 

Besides, it should appear, that if he had 
The present money to discharge the Jew, ^^^ 

He would not take it. Never did I know 
A creature, that did bear the shape of man, 
So keen and greedy to confound a man : 
He plies the Duke at morning and at night, 
And doth impeach the freedom of the state, ^^^ 

If they deny him justice : twenty merchants. 
The Duke himself, and the magnificoes 
Of greatest port, have all persuaded with him; 



6Q THE MERCHANT OF VENICE [Act III 

But none can drive him from the envious plea 

Of forfeiture, of justice and his bond. ^^° 

Pot. Is it your dear friend that is thus in trouble ? 

Bass. The dearest friend to me, the kindest man. 
The best-conditioned and unwearied spirit 
In doing courtesies, and one in whom 
The ancient Koman honor more appears ^®^ 

Than any that draws breath in Italy. 

For. What sum owes he the Jew? 

Bass. For me three thousand ducats. 

For. What, no more ? 

Pay him six thousand, and deface the bond ; ^°° 

Double six thousand, and then treble that, 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First go with me to church and call me wife. 
And then away to Venice to your friend. ^°^ 

Bid your friends welcome, show a merry cheer: 
Since you are dear bought, I will love you dear. 
But let us hear the letter of your friend. 

Bass. [Beads.] Sweet Bassanio, my ships have all 
miscarried, my creditors grow cruel, my estate is ^^^ 
very low, my bond to the Jew is forfeit; and since in 
paying it, it is impossible I should live, all debts are 
cleared between you and I, if I might but see you at 
my death. Notwithstanding, use your pleasure : if your 
love do not persuade you to come, let not my letter. ^^^ 

For. love, dispatch all business, and be gone ! 

Bass. Since I have your good leave to go away, 
I will make haste: but, till I come again. 
No bed shall e'er be guilty of my stay. 

No rest be interposer 'twixt us twain. ^^° 

[Exeunt. 



Scene II] THE MERCHANT OF VENICE Ql 



The marriage ceremony over, Bassanio and Gratiano bade their 
wives good-by, and started for Venice. As soon as they were 
gone, Portia summoned a trusted servant, giving him a letter 
to deliver to Doctor Bellario, a noted lawyer of Padua. From 
there he was to proceed to Venice to meet her, taking with him 
the "notes and garments" given him by the Doctor. She next 
announced to her household that during the absence of their 
husbands, she and Nerissa were going into retreat in a convent 
close by. It was her intention, however, as she had confided to 
Nerissa, to go to Venice. There gowned as a lawyer, and accom- 
panied by ISTerissa disguised as a clerk, she would enter the court 
and plead Antonio's case before the Duke. 



ACT lY. 

Scene I. Venice. A court of justice. 

Enter the Duke, the Magnificoes, Antonio, Bassanio, 
Gratiano, Salerio, and others. 

Duke, "What, is Antonio here? 

Ant. Ready, so please your grace. 

Duke. I am sorry for thee : thou art come to answer 
A stony adversary, an inhuman wretch 
Uncap able of pity, void and empty ® 

From any dram of mercy. 

Ant, I have heard 

Your grace hath ta'en great pains to qualify 
His rigorous course; but since he stands obdurate. 
And that no lawful means can carry me ^° 

Out of his envy's reach, I do oppose 
My patience to his fury, and am armed 
To suffer with a quietness of spirit 
The very tyranny and rage of his. 

Duke. Go one, and call the Jew into the court. ^^ 

Saler. He 's ready at the door : he comes, my lord. 
Enter Shylock. 

Duke. Make room, and let him stand before our 
face. 
Shylock, the world thinks, and I think so too, 
That thou but lead'st this fashion of thy malice 
To the last hour of act ; and then 't is thought ^^ 

62 



Scene I] TEE MERCEANT OF VENICE 63 

Thou 'It show thy mercy and remorse more strange, 
Than is thy strange — apparent cruelty ; 
And where thou now exact 'st the penalty, 
Which is a pound of this poor merchant's flesh, 
Thou wilt not only loose the forfeiture, ^^ 

But, touched with human gentleness and love. 
Forgive a moiety of the principal ; 
Glancing an eye of pity on his losses, 
That have of late so huddled on his back, 
Enough to press a royal merchant down ^° 

And pluck commiseration of his state 
From brassy bosoms and rough hearts of flint, 
From stubborn Turks and Tartars, never trained 
To offices of tender courtesy. 

We all expect a gentle answer, Jew. ^^ 

Shy. I have possessed your grace of what I purpose ; 
And by our holy Sabbath have I sworn 
To have the due and forfeit of my bond : 
If you deny it, let the danger light 
Upon your charter and your city's freedom. ^^ 

You '11 ask me, why I rather choose to have 
A weight of carrion-flesh than to receive 
Three thousand ducats. I '11 not answer that; 
But, say, it is my humor: is it answered? 
What if my house be troubled with a rat *^ 

And I be pleased to give ten thousand ducats 
To have it baned! What, are you answered yet? 
Some men there are love not a gaping pig; 
Some, that are mad if they behold a cat ; 
As there is no firm reason to be rendered, ^° 

Why he cannot abide a gaping pig; 
Why he, a harmless necessary cat ; 
So can I give no reason, nor I will not, 
More than a lodged hate and a certain loathing 



64 THE MERCHANT OF VENICE [Act IV 

I bear Antonio, that I follow thus ^^ 

A losing suit against him. Are you answered ? 

Bass. This is no answer, thou unfeeling man, 
To excuse the current of thy cruelty. 

Shy. I am not bound to please thee with my answers. 

Bass. Do all men kill the things they do not love ? ^° 

Shy. Hates any man the thing he would not kill? 

Bass. Every offence is not a hate at first. 

Shy. What, wouldst thou have a serpent sting thee 
twice ? 

Ant. I pray you, think you question with the Jew : 
You may as well go stand upon the beach ^^ 

And bid the main flood 'bate his usual height ; 
You may as well use question with the wolf 
"Why he hath made the ewe bleat for the lamb ; 
You may as well forbid the mountain pines 
To wag their high tops and to make no noise, ^° 

When they are fretted with the gusts of heaven ; 
You may as well do any thing most hard. 
As seek to soften that — than which what 's harder ? — 
His Jewish heart: therefore, I do beseech you. 
Make no more offers, use no farther means, ^^ 

But with all brief and plain conveniency 
Let me have judgment and the Jew his will. 

Bass. For thy three thousand ducats here is six. 

Shy. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, ^^ 

I would not draw them: I would have my bond. 

Duke. How shalt thou hope for mercy, rendering 
none? 

Shy. What judgment shall I dread, doing no wrong ? 
You have among you many a purchased slave, 
Which, like your asses and your dogs and mules, ^^ 
You use in abject and in slavish parts, 



Scene I] TEE MERCBA^^T OF VENICE 65 

Because you bought them. Shall I say to you, 

Let them be free, marry them to your heirs ? 

Why sweat they under burthens? — let their beds 

Be made as soft as yours, and let their palates ^° 

Be seasoned with such viands? You will answer 

The slaves are ours. So do I answer you: 

The pound of flesh, which I demand of him, 

Is dearly bought, 't is mine, and I will have it. 

If you deny me, fie upon your law ! ^^ 

There is no force in the decrees of Venice. 

I stand for judgment : answer ; shall I have it ? 

Duke. Upon my power I may dismiss this court. 
Unless Bellario, a learned doctor, 

Whom I have sent for to determine this, ^°° 

Come here to-day. 

Saler. My lord, here stays without 

A messenger with letters from the doctor. 
New come from Padua. 

Duke. Bring us the letters ; call the messenger. ^^^ 

Bass. Good cheer, Antonio! What, man, courage 
yet! 
The Jew shall have my flesh, blood, bones and all, 
Ere thou shalt lose for me one drop of blood. 

Ant. I am a tainted wether of the flock, 
Meetest for death: the weakest kind of fruit ^^° 

Drops earliest to the ground, and so let me : 
You cannot better be employed, Bassanio, 
Than to live still, and write mine epitaph. 

Enter Nerissa dressed like a lawyer's clerk. 

Duke. Came you from Padua, from Bellario? 

Ner. From both, my lord: Bellario greets your 
grace. [Presenting a letter. ^^^ 

Bass. Why dost thou whet thy knife so earnestly? 

Shy. To cut the forfeiture from that bankrupt there. 



66 THE MERCHANT OF VENICE [Act IV 

Gra. Not on thy sole, but on thy soul, harsh Jew, 
Thou mak'st thy knife keen; but no metal can, 
No, not the hangman's ax, bear half the keenness ^^^ 
Of thy sharp envy. Can no prayers pierce thee? 

Shy. No, none that thou hast wit enough to make. 

Gra. 0, be thou damned, inexecrable dog! 
And for thy life let justice be accused. 

Shy. Till thou canst rail the seal from off my 
bond, 125 

Thou but offend 'st thy lungs to speak so loud : 
Kepair thy wit, good youth, or it will fall 
To cureless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 
A young and learned doctor to our court. ^^^ 

Where is he? 

Ner. He attendeth here hard by. 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four of 
you 
Go give him courteous conduct to this place. ^^^ 

Meantime the court shall hear Bellario 's letter. 

Clerk. [Reads.] Your grace shall understand that 
at the receipt of your letter I am very sick : but in the 
instant that your messenger came, in loving visitation 
was with me a young doctor of Rome; his name is ^^^ 
Balthasar. I acquainted him with the cause in contro- 
versy between the Jew and Antonio the merchant: we 
turned o'er many books together: he is furnished with 
my opinion; which, bettered with his own learning, the 
greatness whereof I cannot enough commend, comes ^^^ 
with him, at my importunity, to fill up your grace's 
request in my stead. I beseech you, let his lack of years 
be no impediment to let him lack a reverend estimation ; 
for I never knew so young a body with so old a head. 



Scene I] THE MERCHANT OF VENICE 67 

I leave him to your gracious acceptance, whose trial ^^° 
shall better publish his commendation. 

Duke. You hear the learned Bellario, what he writes : 
And here, I take it, is the doctor come. 

Enter Portia^ dressed like a Doctor of Laws. 
Give me your hand. Come you from old Bellario? 

For. I did, my lord. ^^^ 

Duke. You're welcome: take your place. 

Are you acquainted with the difference 
That holds this present question in the court? 

For. I am informed thoroughly of the cause. 
Which is the merchant here, and which the Jew? ^®° 

Duke. Antonio and old Shylock, both stand forth. 

For. Is your name Shylock? 

Shy. Shylock is my name. 

For, Of a strange nature is the suit you follow; 
Yet in such rule that the Venetian law ^^^ 

Cannot impugn you as you do proceed. 
You stand within his danger, do you not? 

Ant. Ay, so he says. 

For. Do you confess the bond? 

A7it. I do. "^ 

For. Then must the Jew be merciful. 

Shy. On what compulsion must I? tell me that. 

For. The quality of mercy is not strained; 
It droppeth as the gentle rain from heaven 
Upon the place beneath. It is twice blest ; ^^^ 

It blesseth him that gives and him that takes : 
'T is mightiest in the mightiest : it becomes 
The throned monarch better than his crown ; 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty, ^^° 

Wherein doth sit the dread and fear of kings; 



68 THE MERCHANT OF VENICE [Act IV 

But mercy is above the sceptred sway; 

It is enthroned in the hearts of kings, 

It is an attribute to God himself; 

And earthly power doth then show likest God's ^^^ 

When mercy seasons justice. Therefore, Jew, 

Though justice be thy plea, consider this. 

That, in the course of justice, none of us 

Should see salvation: we do pray for mercy; 

And that same prayer doth teach us all to render ^^*' 

The deeds of mercy. I have spoke thus much 

To mitigate the justice of thy plea; 

Which if thou follow, this strict court of Venice 

Must needs give sentence 'gainst the merchant there. 

Shy. My deeds upon my head ! I crave the law, ^®^ 
The penalty and forfeit of my bond. 

Por. Is he not able to discharge the money? 

Bass. Yes, here I tender it for him in the court ; 
Yea, twice the sum : if that will not suffice, 
I will be bound to pay it ten times o'er, ^°° 

On forfeit of my hands, my head, my heart : 
If this will not suffice, it must appear 
That malice bears down truth. And, I beseech you, 
Wrest once the law to your authority: 
To do a great right, do a little wrong, ^°^ 

And curb this cruel devil of his will. 

Por. It must not be; there is no power in Venice 
Can alter a decree established: 
'T will be recorded for a precedent. 

And many an error, by the same example, ^^° 

Will rush into the state. It cannot be. 

Shy. A Daniel come to judgment ! yea, a Daniel ! 
wise young judge, how I do honor thee ! 

Por. 1 pray you, let me look upon the bond. 



ScEXE I] TEE MERCEANT OF VENICE gg 

Shy. Here 't is, most reverend doctor, here it is. ^^^ 

Por. Shylock, there's thrice thy money offered 
thee. 

Shy. An oath, an oath, I have an oath in heaven: 
Shall I lay perjury upon my sonl? 
No, not for Venice! 

Por. Why, this bond is forfeit ; -^° 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant 's heart. Be merciful ; 
Take thrice thy money; bid me tear the bond. 

Shy. When it is paid according to the tenor. ^^^ 
It doth appear you are a worthy judge; 
You know the law, your exposition 
Hath been most sound: I charge you by the law, 
Whereof you are a well-deserving pillar. 
Proceed to judgment : by my soul I swear ^^° 

There is no power in the tongue of man 
To alter me : I stay here on my bond. 

Ant. Most heartily I do beseech the court 
To give the judgment. 

Por. Why then, thus it is : ^^^ 

You must prepare your bosom for his knife. 

Shy. noble judge ! excellent young man ! 

Por. For the intent and purpose of the law 
Hath full relation to the penalty, 
Which here appeareth due upon the bond. ^*° 

Shy. 'T is very true : wise and upright judge ! 
How much more elder art thou than thy looks ! 

Por. Therefore lay bare your bosom. 

Shy. Ay, his breast : 

So says the bond : doth it not, noble judge ? ^^^ 

Nearest his heart : those are the very words. 



70 THE MERCHANT OF VENICE [Act IV 

Pot. It is so. Are there balance here to weigh 
The flesh? 

Shy. I have them ready. 

For. Have by some surgeon, Shylock, on your 
charge, ^" 

To stop his wounds, lest he do bleed to death. 

Shy. Is it so nominated in the bond? 

For. It is not so expressed; but what of that? 
'T were good you do so much for charity. 

Shy. I cannot find it; 'tis not in the bond. ^^^ 

For. You, merchant, have you anything to say? 

Ant. But little : I am armed and well prepared. 
Give me your hand, Bassanio: fare you well! 
Grieve not that I am fallen to this for you; 
For herein Fortune shows herself more kind ^^^ 

Than is her custom. It is still her use 
To let the wretched man outlive his wealth. 
To view with hollow eye and wrinkled brow 
An age of poverty; from which lingering penance 
Of such a misery doth she cut me off. ^^^ 

Commend me to your honorable wife : 
Tell her the process of Antonio's end; 
Say how I loved you, speak me fair in death; 
And, when the tale is told, bid her be judge 
"Whether Bassanio had not once a lover. ^^^ 

Kepent not you that you shall lose your friend, 
And he repents not that he pays your debt ; 
For if the Jew do cut but deep enough, 
I'll pay it presently with all my heart. 

Bass. Antonio, I am married to a wife ^^^ 

Which is as dear to me as life itself; 
But life itself, my wife, and all the world, 
Are not with me esteemed above thy life; 



Scene I] THE MERCHAXT OF TEXIGE 7I 

I would lose all, ay, sacrifice them all 

Here to this devil, to deliver you. ^^^ 

Shy. We trifle time : I pray thee, pursue sentence. 

Por. A pound of that same merchant's flesh is 
thine : 
The court awards it, and the law doth give it. 

Shy. Most rightful judge! 

Por. And you must cut this flesh from off his 
breast : ^^^ 

The law allows it, and the court awards it. 

Shy. Most learned judge ! A sentence ! Come, 
prepare ! 

Por. Tarry a little; there is something else. 
This bond doth give thee here no jot of blood; 
The words expressly are "a pound of flesh;" ^^° 

Take then thy bond, take thou thy pound of flesh; 
But, in the cutting it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
Are, by the laws of "Venice, confiscate 
Unto the state of Venice. ^^^ 

Gra. upright judge! Mark, Jew: learned 
judge ! 

Shy. Is that the law? 

Por. Thyself shall see the act: 

For, as thou urgest justice, be assured 
Thou shalt have justice, more than thou desirest. ^^^ 

Gra. learned judge ! Mark, Jew : a learned judge ! 

Shy. I take this offer, then; pay the bond thrice 
And let the Christian go. 

Bass. Here is the money. 

Por. Soft ! 305 

The Jew shall have all justice ; soft ! no haste : 
He shall have nothing but the penalty. 

Gra. Jew ! an upright judge, a learned judge ! 



72 TSE MERCHANT OF VENICE [Act IV 

Pot. Therefore prepare thee to cut off the flesh. 
Shed thou no blood, nor cut thou less nor more ^^° 

But just a pound of flesh: if thou cut'st more 
Or less than a just pound, be it but so much 
As makes it light or heavy in the substance 
Or the division of the twentieth part 
Of one poor scruple ; nay, if the scale do turn ^^^ 

But in the estimation of a hair, 
Thou diest and all thy goods are confiscate. 

Gra. A second Daniel, a Daniel, Jew! 
Now, infidel, I have thee on the hip. 

For. Why doth the Jew pause? take thy forfeit- 
ure. ^^^ 

Shy. Give me my principal, and let me go. 

Bass. I have it ready for thee; here it is. 

For. -He hath refused it in the open court: 
He shall have merely justice and his bond. 

Gra. A Daniel, still say I, a second Daniel! ^^^ 

I thank thee, Jew, for teaching me that word. 

Shy. Shall I not have barely my principal? 

Pot. Thou shalt have nothing but the forfeiture. 
To be so taken at thy peril, Jew. 

Shy. Why, then the Devil give him good of it! ^^° 
I'll stay no longer question. 

Por. Tarry, Jew; 

The law hath yet another hold on you. 
It is enacted in the laws of Venice, 
If it be proved against an alien ^^^ 

That by direct or indirect attempts 
He seek the life of any citizen. 
The party 'gainst the which he doth contrive 
Shall seize one half his goods; the other half 
Comes to the privy coffer of the state ; ^*^ 

And the offender's life lies in the mercy 



Scene I] THE MERCHANT OF VENICE 73 

Of the Duke only, 'gainst all other voice. 

In which predicament, I say thou stand 'st; 

For it appears, hy manifest proceeding, 

That indirectly, and directly too, ^*^ 

Thou hast contrived against the very life 

Of the defendant; and thou hast incurred 

The danger formerly by me rehearsed. 

Down therefore and beg mercy of the Duke. 

Gra. Beg that thou mayst have leave to hang thy- 
self: 25« 
And yet, thy wealth being forfeit to the state, 
Thou hast not left the value of a cord ; 
Therefore thou must be hanged at the state's charge. 

Duke. That thou shalt see the difference of our 
spirits, 
I pardon thee thy life before thou ask it: ^^^ 

For half thy wealth, it is Antonio 's ; 
The other half comes to the general state, 
Which humbleness may drive unto a fine. 

For. Ay, for the state, not for Antonio. 

Shy. Nay, take my life and all ; pardon not that : ^^° 
You take my house, when you do take the prop 
That doth sustain my house; you take my life. 
When you do take the means whereby I live. 

For. What mercy can you render him, Antonio? 

Gra. A halter gratis; nothing else, for God's 



Ant. So please my lord the Duke and all the court 
To quit the fine for one half of his goods, 
I am content: 

For. Art thou contented, Jew? what dost thou say? 

Shy. I am content. ^^? 

For, Clerk, draw a deed of gift. 



74 THE MERCHANT OF VENICE [Act IV 

Shy. I pray you, give me leave to go from hence; 
I am not well: send the deed after me, 
And I will sign it. 

Duke. Get thee gone, but do it. ^^^ 

Gra. In christening shalt thou have two godfathers : 
Had I been judge, thou shouldst have had ten more, 
To bring thee to the gallows, not the font. [Exit Shylock. 

Duke. Sir, I entreat you home with me to dinner. 

Por. I humbly do desire your grace of pardon: ^^° 
I must away this night toward Padua, 
And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you not. 
Antonio, gratify this gentleman; 

For, in my mind, you are much bound to him. ^^^ 

[Exeunt Duke and his train. 

Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 
Of grievous penalties; in lieu whereof. 
Three thousand ducats, due unto the Jew, 
We freely cope your courteous pains withal. ^^° 

Ant. And stand indebted, over and above, 
In love and service to you evermore. 

Por. He is well paid that is well satisfied; 
And I, delivering you, am satisfied 

And therein do account myself well paid : ^^^ 

My mind was never yet more mercenary. 
I pray you, know me when we meet again: 
I wish you well, and so I take my leave. 

Bass. Dear sir, of force I must attempt you fur- 
ther : 
Take some remembrance of us, as a tribute, *°° 

Not as a fee: grant me two things, I pray you. 
Not to deny me, and to pardon me. 



Scene I] THE BIEBCHANT OF VENICE 75 

For. You press me far, and therefore I will yield. 
[To Ant.] Give me your gloves, I'll wear them for 

your sake ; 
[To Bass.] And, for your love, I'll take this ring from 
you : *'^5 

Do not draw back your hand; I'll take no more; 
And you in love shall not deny me this. 

Bass. This ring, good sir, alas, it is a trifle! 
I will not shame myself to give you this. 

For. 1 will have nothing else but only this ; *^° 

And now methinks I have a mind to it. 

Bass. There's more depends on this than on the 
value. 
The dearest ring in Venice will I give you, 
And find it out by proclamation : 
Only for this, I pray you, pardon me. *^^ 

Por. I see, sir, you are liberal in offers : 
You taught me first to beg ; and now methinks 
You teach me how a begger should be answered. 

Bass. Good sir, this ring was given me by my wife ; 
And when she put it on, she made me vow *^*^ 

That I should neither sell nor give nor lose it. 

Por. That 'scuse serves many men to save their 
gifts. 
And if your wife be not a mad-woman, 
And know how well I have deserved the ring. 
She would not hold out enemy for ever, *^^ 

For giving it to me. Well, peace be with you! 

[Exeunt Portia and Nerissa. 

Ant. My Lord Bassanio, let him have the ring: 
Let his deservings and my love withal 
Be valued 'gainst your wife's commandment. 

Bass. Go, Gratiano, run and overtake him; ^^^ 



76 THE MERCHANT OF VENICE [Act IV 

Give him the ring; and bring him, if thou canst, 
Unto Antonio's house. Away! make haste. 

[Exit Gratiano. 
Come, you and I will thither presently; 
And in the morning early will we both 
Fly toward Belmont : come, Antonio. [Exeunt. *^^ 

The Return to Belmont 

Obedient to Bassanio's request, Gratiano hastened to overtake 
the Doctor, to whom he delivered the message and presented the 
ring. Portia then asked him to show her clerk "old Shylock's 
house," that he "might give him the deed and let him sign it." 
At the time of their betrothal Nerissa had presented Gratiano 
with a ring, which she now succeeded in persuading him to give 
her in payment of her services on behalf of his friend. 

Their business finished, Portia and Nerissa started for Belmont, 
where they were soon joined by their husbands and Antonio. 
The greetings were hardly over, before the young women dis- 
covered their husbands no longer wore their betrothal rings, 
and each wife indignantly demanded an explanation. Bassanio 
said he was compelled to give his to the Doctor, who would 
accept no other fee; while Gratiano, with much disgust, claimed 
to have presented his to "a kind of boy, a little scrubbed boy, 
the judge's clerk." Portia and Nerissa pretended to feel deeply 
wronged and accused their husbands of having deceived them. 

Feeling he was responsible for the misunderstanding, the gentle 
Antonio endeavored to restore peace. Seeing how deeply he was 
grieved, each wife produced her ring, explaining how she came 
to have it. Portia then gave to Antonio a letter, wherein he 
learned that three of his argosies had "richly come to harbor 
suddenly." Again all was peace and happiness, and there was 
much laughter about the rings, and the husbands who did not 
know their wives, the merry Gratiano swearing: 

"while I live, I'll fear no other thing 
So sore as keeping safe Nerissa 's ring." 



GLOSSARY 



Antonio (an-to'ne-o) 
Balthasar { bal-tha ' zar ) 
Bassanio (ba-sa'ni-o) 
Bellario (ba-la'ri-o) 
Belmont ( bel ' mont ) 
Diana (di-an'a) 
Gobbo (gob 'bo) 
Gratiano ( gra-she-a ' no ) 
Jessica (jes'i-ka) 
Launcelot (lan'ce-lot) 
Leonardo ( le-on-ar ' do ) 



Lorenzo (lo-ren'zo) 
Montf errat ( mon-f er-ra ' ) 
Nerissa (ne-ris'sa) 
Portia ( por ' shia ) 
Rialto (re-al'to) 
Salanio (sa-la'ni-o) 
Salarino (sa-la-re'no) 
Salerio (sa-ler'i-o) 
Shylock (shi'lock) 
Sibylla (si-bi'la) 
Tubal (tu'bal) 



Ay ( 1 ) , always so pronounced when used as an affirmative 
answer. 

STUDY HELPS 
ACT I, Scene I 



1. Which character do you like best in this scene? Why? 

2. Why is Antonio sad ? 

3. Can you name two other young men between whom there 
existed as strong a friendship as between Antonio and Bassanio? 

Explain the following lines considered in their relation to the 
context : 

And such a want-wit sadness makes of me. (6) 
As they fly by them with their woven wings. ( 14 ) 
Upon the fortune of this present year. ( 25 ) 
You grow exceeding strange. (43) 
By something showing a more swelling port. (91) 
And from your love I have a warranty. (96) 
Lie all unlocked to your occasions. (103) 
77 



78 TEE BIERCHANT OF VENICE 

To wind about my love with circumstance. (118) 
Make a list of all unfamiliar words, observing their meaning 
and use in the text. 

ACT I, Scene II 

1. Comment on the manner of both Bassanio and Shylock. 
Who appears to the better advantage? Why? Why does Shy- 
lock deliberate so long about the loan? How is Bassanio 
impressed by his deliberation? To what does he attribute it? 
Why does Shylock say, "Who is he comes here?" 

2. What is your impression of Antonio in this scene? 

3. Which of these men appears to the best advantage in this 
scene ? Why ? 

Explain the following lines considered in their relation to the 
context : 

Shall be bound. (4) 

Means are in supposition. (13) 

Will bethink me. (26) 

Low simplicity. (37) 

Feed fat the ancient grudge I bear him. (41) 

My bargains and my well-won thrift. (44) 

Near guess of my memory. (49) 

Eaise up the gross. (50) 

Will furnish me. (53) 

Eipe wants of my friend. (58) 

Shames you have stained me with. (118) 

Expressed in the condition. (128) 

Dwell in my necessity. (135) 

Make a list of all the words with which you are unfamiliar in 
this chapter and define them. 

ACT I, Scene III 

1. How does Portia feel about her father's will? Give the 
reasons for your opinion. 

2. How does Nerissa regard the various suitors? 

3. How do you regard this plan of the father for choosing 
a husband for his daughter? 

Explain the following lines considered in their relation to the 
context : 



STUDY HELPS 79 

Little body is aweary of this great world. (1) 
Competency lives longer. (9) 
Level at my affections. (37) 
Unmannerly sadness in Ms youth. (48) 
Sin to be a mocker. (55) 

If a throstle sing, he falls straight a capering. (58) 
Converse with a dumb-show. (71) 
Neighborly charity. (77) 
Make shift to go without him. (88) 
Dote on his very absence. (108) 
My foolish eyes looked upon. (116) 

Make a list of all unfamiliar words, noting their meaning and 
use in the text. 

ACT II, Scene I 

1. What do you learn about the character of Shylock from 
Launcelot ? 

2. Why does Bassanio engage Launcelot? 

3. Why does Gratiano wish to accompany Bassanio to Bel- 
mont? 

4. Which character do you like best in this scene? Why? 
Make a list of all unfamiliar words, and study their meaning 

and use in the text. 

ACT III, Scene I 

1. Comment freely upon the characters of Shylock and Tubal. 

2. Describe Shylock's state of mind. 

3. What is your feeling toward him as he appears in this 
scene? 

4. What is your opinion of Jessica? 

Explain the following lines considered in their relation to the 
context : 

Yet it lives there unchecked. (2) 

Crossing the plain highway of talk. (11) 

Hindered me half a million. (46) 

Hath an argosy cast away. (89) 

Make a list of all unfamiliar words, and study their meaning 
and the sense in which they are employed in the text. 



80 TEE MERCHANT OF VENICE 

ACT III, Scene II 

1. Which character do you like best in this scene? Why? 

2. What quality do you admire most in Portia, Nerissa, Bas- 
sanio, and Gratiano, as far as you have read? 

3. Quote the lines you like best in this scene. 

Explain the following words considered in their relation to 
the context: 

Hate counsels not in such a quality. (6) 

My eye shall be the stream 

And watery death-bed for him. (18) 

So may the outward shows be least themselves. ( 30 ) 

Fair Portia's counterfeit. (51) 

Make a list of all unfamiliar words, and study their meaning 
and use in the text. 

ACT IV, Scene I 

1. Which character do you admire the most in this scene? 
Why? For whom do you feel the greatest sympathy? Why? 

2. What is your opinion of the punishment inflicted upon 
Shy lock? 

3. What is your impression of Gratiano? 

4. How do you think Portia feels toward Shylock? Why? 

5. How does the Duke regard him? Give your reasons. 
Quote your favorite lines in this scene. In the play. 
Which character do you admire the most in the play? Why? 
Explain the following lines considered in their relation to the 

context : 

Strange — apparent cruelty. (22) 

Glance an eye of pity. (28) 

Made the ewe bleat for the lamb. (68) 

Crave the law.- (195) 

Wrest once the law to your authority. (204) 

Well-deserving pillar. (229) 

Find it out by proclamation. (414) 

Note all unfamiliar words, studying their meaning with par- 
ticular attention to their use in the text. 



NOTES . 

ACT I, Scene I 

1. In Sooth, truly or in truth. 

10. Signiors, in the sense of lords or magistrates. Burghers, 
citizens. 

15. -Forth, frequently used by Shakespeare in the sense of 
out. 

50. Respect, concern or consideration. 

61. Cream and mantle, that is, they assume a manner and 
expression which conceals their ignorance, and united with their 
silence gives those about them the impression that they possess 
a wisdom too deep for the understanding of an ordinary mind. 

64. Conceit, here used in the sense of thought, conception, 
judgment. 

65. Oracle, a very wise person, a prophet. 
79. Neat's, calf's. 

105. Self -same flight, that is, onev which was made to shoot 
the same distance, arrows being formed for shooting at various 
distances just as guns are. 

121. Prest, ready, prepared. 

123. Meaning she possessed other graces than beauty of 
person. 

127. The wife of Marcus Brutus, the Eoman senator. 

131. With in the sense of as. 

ACT I, Scene II 

1. Ducat was a gold coin, the value of which varied, but 
three thousand would be equivalent to about $25,000 today. 

6. Stead used at that time in the sense of assist or aid: 
"May you stead me?" therefore means can you assist me? 

12. Good here employed in the commercial sense with ref- 
erence to the financial responsibility. We sometimes say of a 
man he is good for it, meaning he can afford it. 

13. in supposition, not known, uncertain. 

15. In ancient Venice there were three distinct places com- 
monly spoken of as the Eialto: namely, the island at the further 
side of the Grand Canal ; the Exchange erected on that island, 



82 THE MERCHANT OF VENICE 

and within which the city's chief financial transactions were con- 
ducted; and the Ponte de Rialto, which connected the island 
with St. Mark's quarter. This fact doubtless explains why 
Shakespeare employs in, on, and upon when speaking of the 
Rialto. 

17. Squandered, scattered. 

29. In Shakespeare's time Christ was referred to as the 
Nazarite, rather than the Isazarene, the latter term having been 
first employed in the King James version of the Bible, published 
in 1611. 

35. Publican was the name given to tax-collectors, all of 
whom were detested by the people, particularly the Jews to whom 
they showed little mercy. 

36. For, in the sense of because. 

39. Usance, usury, upon advantage, and excess possess 
the same significance as the word interest, when employed to 
indicate the premium charged for the use of money. In 
Shakespeare's day there was no law establishing a legal rate of 
interest as now, when we refer to an excessive rate or premium 
on a loan as usury. As the chief money-lenders of that period 
were Jews, the business was held in ill-repute by all Gentiles, 
who felt to pay or charge a friend for the use of money was 
a mark of Judaism, and not consistent with the conduct of a 
Christian gentleman. 

40. Upon the Mp, a wrestling phrase commonly used in the 
poet's day. 

53. Soft, an old expression employed in the sense we now 
use, wait, hold on, not so fast. 

54. Rest you fair, a form of apology of practically the same 
significance as the modern beg youj^ pardon. 

59. Possessed, informed. 

68. Shylock takes much pleasure in recalling the clever 
trick by which Rebecca deceived Isaac, thus winning for Jacob, her 
favorite son, the blessing which rightfully belonged to Esau, 
his elder brother. 

80. Falsehood, trickery, knavery. 

88. Sufferance, the Venetian senate had passed an edict for- 
bidding all Jews from appearing on the Rialto without wearing 
a red cross embroidered upon the shoulder of their coats, or a 
yellow strip in their caps. 



NOTES 



83 



90. Gaberdine was a long, loose outer garment. 
93. Go to, a common exclamation, which, like our come on 
or get out, took its whole meaning from the inflection of the 
utterance. 

95. In the poet's day the word rheum applied to any dis- 
charge of nose, eyes, or lungs. Here it plainly means spittle. 

112. Breed, here means interest; that which came from or 
was bred by the principal. 

114. Break, fails. 

119. Doit, an old Dutch coin, worth less than our penny. 

129. The Hebraic law forbade the Israelites to torture any 
li^dng creature, but to treat all with kindness, loving their neigh- 
bors as themselves; for this reason the Jews have always taken 
an exception to the character of Shylock, considering it to be a 
libel on their race. 

135. Dwell, abide, live, continue. 

143. Break Ms day, then a common phrase for breach of con- 
tract. 

149. So, in the sense of very well, was not uncommon at that 
time. 

155. Fearful, doubtful. 

ACT I, Scene III 

1. Troth is an old form of truth. 

8. Superfluity comes sooner, meaning those who live in 
luxury earlier acquire white hair. The verb come is frequently 
used in the sense of acquire. 

10. Sentences, maxims. 

18. Blood has the same meaning here as temper, and both 
refer to the passions or impulses generally. 

21. Reasoning, conversation. 

24. The second will refers to the legal paper in which the 
owner expresses his wishes regarding the disposition of his 
property after his death. 

27. Holy men, meaning honorable and noble minded. 

37. Level, guess or determine. 

40. Appropriation in the sense of addition. 

47. Eef ers to Heraclitus, a wise man of ancient times, known 
as the "weeping philosopher," because he mourned over the 
follies of mankind. 



84 TEE MERCHANT OF VENICE 

70. Proper, handsome. 

71. Dumb-sliow, pantomime. 

80. Seal is to sign. A person giving a bond sealed to and 
his surety, the person who signed it with him, sealed under. 
87. An used in the poet 's day in the sense of if. 

102. Sort, manner. 

103. Father's imposition, conditions imposed by the father's 
will. 

104. When Apollo fell in love with Sibylla he offered to grant 
any request she might make. She asked to live as many years 
as she had grains of sand in her hand. The request was granted, 
but as she had not asked to retain her beauty she doubtless 
derived little satisfaction from the years. 

105. Diana, identified with the Greek Artemus, was the 
daughter of Jupiter and Latona and twin sister of Apollo. She 
lived in the forest and about fountains, had authority over the 
moon, and presided over the hunt. 

121. Pour, doubtless an error as six have been mentioned. 

127. Condition, disposition, temper. 

128. Devils always represented as of dark color. 

129. Shrive me, hear my confession. 

ACT II, Scene I 

20. Sand-blind, vision not entirely gone. We sometimes use 
the expression stone-blind, meaning a person cannot see. 

31. Master, in the poet's day, was a title of respect, and 
never applied to the serving class; hence Gobbo shrinks from 
giving it to his son, although unknowingly he keeps calling him 
master. 

52. It was customary for young people to address old men 
and women as father and mother, in that day, so Gobbo still 
fails to recognize his son. 

68. Launcelot kneels with his back to his father, who mis- 
takes his hair for a beard. 

78. I have set up my rest to run away, a phrase frequently 
used in the sense of making up one's mind or forming a 
resolution. 

94. Gramercy, many thanks, from the French grand merci. 
103. Cater-cousins, distant cousins. Gobbo apparently wishes 



NOTES 85 

to imply that there is little attachment between Launcelot and 
the Jew. 

106. Frutify, fructify, meaning he will relate all the particu- 
lars. 

147. Men then wore their hats during dinner, but in genteel 
circles, when grace was being pronounced, it was customary to 
remove the head covering and hold it before the face. 

ACT III, Scene I 

4. Goodwins, the Goodwin Sands, which lay off the eastern 
coast of Kent, England. 

9. Knapped, nibbled or gnawed. Ginger was a favorite 
delicacy of old ladies of that period. 

15. That is, hurry on with your story, don't stop to think 
of words. 

26. Eefers to Jessica having worn boy's clothing. 

32. Rhenisli wines, white wines, so called from the river 
Ehine. 

37. Smug, alert, brisk, gay. 
110. The turquoise was thought to possess certain magical 
properties for which it was as highly prized as for its beauty. 

ACT III, Scene II 

7. Peise, from a French word meaning to weigh. It is 
here used figuratively in the sense of retard; putting a weight 
on a thing in motion naturally makes it go slower. 

16. Eefers to the legend of the swan, which is said to sing 
while it is dying. 

31. Still, in the sense of always. 

34. Gulled, seductive, beguiling. 

39. Midas besought the God Bacchus to turn whatever he 
touched into gold. The request was granted, but all of his food 
turning to gold while he was eating, he implored Bacchus to 
withdraw the favor. 

88. The lord of a property is the owner. 
104. That is, you are so happy you cannot wish to take any 
joy from me. 
129. Very, true. 



86 THE MERCHANT OF VENICE 

152. Shrewd, in the sense of painful. 

172. Mere, absolute, entire. 

183. Confound, ruin, destroy. 

198. The Venetian ducat, in the poet's day, was equivalent 
to about $1.53, thus three thousand ducats would have been 
equal to $4,600, the purchasing value of which would have been 
six times what it is in our day. 

ACT IV, Scene I 

5. Uncapable, incapable. 

6. Dram, a very minute quantity. 
8. Qualify, soften, moderate. 

11. Envy's reach, malice, hatred. 

21. Remorse, pity, compassion. 

23. Where for whereas. 

27. Moiety literally is one third, but is employed by 
Shakespeare to express any portion. 

30. Royal merchant, indicates Antonio's great wealth and 
social standing. 

36. Possessed, in the old sense of informed, advised. 

44. Humor, frequently employed in the poet's time when 
referring to any whim or caprice for which no reason could be 
offered. 

47. Baned, poisoned, killed with ratsbane. 

48. This may refer to a pig's head as roasted for the table 
and sometimes served with an apple in its mouth; or to the 
squealing of a pig. 

64. Question, reason, argue. 
66. Main flood, high tide. 
144. The plea is apparently a request that his wisdom be not 
underestimated because of his youth. 
158. Question, controversy, dispute. 

166. Impugn, oppose, literally meaning that there is no law 
which meets the present situation. 

167. Within his danger, within his power. 
169. Confess, acknowledge. 

203. Truth, justice, or possibly honesty. 

210. Error, wrong, injustice. 

220. rorfeit, forfeited; that is, the penalty can be claimed. 



SUGGESTIONS FOR STAGING 87 

242. More elder, the double comparative is frequently to be 

noted in Shakespeare. 

247. Balance though singular in form is used in a plural 
sense. 

261. Still her use, meaning it is her custom. 

268. Speak me fair in death, speak well of me when dead. 

294. Confiscate, confiscated. 

341. In the mercy, we would now say at the mercy. 

377. Meaning twelve men to condemn him. 

380. Of pardon, an expression very common at that time. 

388. In lieu thereof, in return or consideration of which. 

390. Cope in the sense of reward; meaning, ''We freely 
reward your courteous efforts therewith." 

423. And if, frequently used by writers of the poet's time 
where we would employ if only. 



SUGGESTIONS FOR STAGING 

Although certain traditions govern the staging of the 
Shakespearean dramas, every actor exercises his individ- 
uality through personal preference in the matter of 
details, which explains the differences to be observed 
in the business, properties and stage effects in every 
production. 

The directions offered are designed as a general guide 
for the teacher who has never witnessed a production of 
the drama, or who has had little experience in the stag- 
ing of plays. 

The following rules should be observed in all stage 
productions, whether classic or modern : 

In entering, the character speaking generally comes 
second, advancing on the foot away from the audience. 

Keep the foot nearest the audience back. Only low 
comedy characters, servants, and soldiers stand with the 
feet parallel. 



38 THE MERCHANT OF VENICE 

Kneel on the knee next to the audience. 

In walking lines, the speaker always sets the pace. 

In crossings, the character speaking passes in front, 
setting the pace, the other person yielding his place and 
taking that of the speaker. 

The weight should always be on the forward foot, 
except in attitudes of meditation or defiance. 

Mobs should be arranged in small groups with leaders, 
who in turn should be under a general leader. This 
arrangement will lessen the individual responsibility, 
and prevent the huddling which results from confusion. 

Have pupils pace walking lines, those on which they 
cross, enter and exit, until they learn to step on the 
strong beat. This mastery of rhythm not only insures 
stronger entrances, exits and crossings, but will give 
greater ease and self-confidence. 

If a character rises or sits while speaking, the action 
should come on the strong word in the sentence. 

Always observe a crescendo and diminuendo in shouts, 
murmurs, etc., of the mob. 

The letters E and L (right and left) indicate the 
position of players on the stage, facing the audience. 
Down stage is toward the audience. Up stage is from 
the audience. L is lower, and U is upper. C is center, 
and R C is right center and L C is left center. The 
numbers 1, 2, and 3, refer to the entrances on the left 
and right of stage, R 1 and L 1 being the entrances 
nearest the audience on the right and left sides, and R 3 
and L 3 are the entrances farthest up stage. 

The numbers refer to the lines of text, and the direc- 
tions to the business or action which should accompany 
them, 



SUGGESTIONS FOB STAGING 89 

ACT I, Scene I 

Stone bench R C. 

Enter Antonio, Salarino, and Salanio R, 2. Characters should 
enter in natural groups, not in ranks or files. Salarino should 
have his right hand on Antonio's shoulder or they may be arm 
in arm, and Salanio is just a step behind and to the R of 
Antonio. Salarino and Antonio R C, Salanio R. 

32. All laugh slightly at the conclusion of this speech. 

35. Salanio crosses to R C, and Antonio drops into his place 
on R. 

40. Enter Bassanio, Lorenzo and Gratiano R I. Bassanio 
immediately crosses to Antonio, they shake hands, then he crosses 
to C and acknowledges greeting of Salarino. During their speeches 
Lorenzo and Gratiano shake hands with Antonio. 

44. Exeunt Salarino and Salanio L 2, merrily. 

45. Bassanio and Lorenzo pass to L C together. 

49. Gratiano C and Antonio R C and Bassanio and Lorenzo 
L C. 

71. Joins Lorenzo L C. 

79. Exeunt Gratiano and Lorenzo L 3, laughing. 

80. Antonio R C, watching them exit. 

81. Bassanio, who has been watching them off C, comes 
down stage to Antonio on R C. 

89. Bassanio C, hesitates a moment, then speaks deliber- 
ately, thoughtfully. 

99. Tries to put him at his ease. 
122. Bassanio does not look at Antonio during descriptive 
portion of this speech, for he is striving to visualize a memory, 
and is fixing his attention not upon his companion but upon the 
picture he is trying to describe. 
130. Here addresses Antonio. 
142. Exit Bassanio L 2, Antonio R 2. 

ACT I, Scene II 

Enter Bassanio and Shylock from R 2. 

1. Shylock R C. 

2. Bassanio L C. 

19. Land-thieves, Bassanio's expression and slight movement 



90 THE MERCHANT OF VENICE 

here indicate he does not understand Shylock's meaning. This 
calls forth a change of tone and the explanation, "I mean pirates." 

21. Sufficient, Shy lock here turns and takes a step or two 
to the right, as if considering the loan. 

24. On completing this speech, Bassanio goes a little farther 
up L. 

26. May I speak with Antonio, Shylock down E here turns 
slightly toward Bassanio, who is still up L; speaks rather loudly. 

27. Bassanio remains up L C, and answers rather indif- 
ferently. 

28. Care must be taken that Shylock is not rude here. He 
is carried away by his emotion, then recollecting himself turns 
to Bassanio with, "What news on the Rialto?" After noting 
Antonio's approach goes to R. 

Antonio enters L 3, Bassanio meets him up L. 

34. Shylock down R, back towards Antonio and Bassanio, 
glances at former over shoulder. 

40. Upon the hip, touches money bag hanging on belt at 
right with left hand. 

47. Bassanio and Antonio going down L. 

48. Shylock crosses to R C. Bassanio on L, Antonio L C. 
53. Shylock's surprise feigned. Makes an oriental bow. 
56. Antonio very cold and distant. "Is he yet possessed," 

addressed to Bassanio, a noticeable change in his tone. 

63. Thoughtfully, as if calculating, then suddenly remember- 
ing what Antonio said directly addresses him, "But hear you." 

72. Antonio here impatiently interrupts the Jew, his tone 
being almost a sneer. 

76. Shylock hears Antonio's remark and turns away. 

83. Antonio impatient here, he and Bassanio come down 
L C. Shylock has walked slowly to R, then down R, as if con- 
sidering figures on the ground. 

84. Shylock crosses to C. 

88. Indicates yellow strip in cap. 

108. Haughtily, with side of body turned toward Shylock. 
On completing speech turns to Bassanio, and both start as if 
going off L. 

116. Shylock R C stops them. 

122. Approaches Shylock. 

125. Shylock takes this lightly. "In the condition," Shylock 



SUGGESTIONS FOR STAGING 91 

here hesitates, as if he were thinking what the condition should 
be. 

134. Bassanio approaches Antonio, placing his hand on his 
arm. Action increases here, moving rapidly to the close of the 
scene. 

140. Shylock turns to right in giving this aside. "Pray you," 
addresses Bassanio. 

152. Moves off R, exit 2. Antonio and Bassanio exit L 3. 

ACT I, Scene III 
Caskets E, C, concealed by curtains. Seat on L C. 
Portia and Nerissa may be seated when curtain rises or may 
enter from L 2. Portia is on L and Nerissa R, if seated. If 
they enter, Portia crosses to R C, Nerissa remaining on L C. 
35. If standing Portia here crosses to seat on L, Nerissa 
taking her place on R. Sits down wheii pronouncing the word 
"level." Nerissa remains standing, but changes her position, 
sometimes leaning on the back of the seat when addressing 
Portia, and occasionally walking about. The beauty of this 
scene lies in its simplicity and ease. 

54. Portia here holds out her hand indicating the height of 
the Frenchman, who is anything but tall. 

55. "In truth," pulls Nerissa down beside her. 
93. Indicates the caskets. 

98. Nerissa here rises, going down R toward C 

104. Portia rises on "I will die as chaste as Diana." 

110. Nerissa here approaches Portia. 

114. "It was Bassanio," turns toward Nerissa. Realizing she 
has revealed more than she intended, "as I think," is given 
slowly and thoughtfully, looking away from Nerissa. 

Servant enters L. All exit L 2, Portia last with her arm 
about Nerissa. 

ACT II, Scene I 

Launcelot runs on stage from Shylock's house L 2; stops sud- 
denly C, draws himself up, turns his head quickly first to R then 
L. Taps heart every time he mentions his "conscience." These 
movements should be large and sweeping. 

2. Points with thumb over left shoulder toward Shylock's 
house. 

2, "Elbow/' points to right elbow. 



92 TEE MERCEANT OF VENICE 

5. ''Eun away/' short staccato-like movements on toes 
toward R 1, as if he were going to run. 

7. "Budge not," holds himself stiff and rigid, military atti- 
tude at attention. "Budge," gives a movement as if about to 
dash forward. "Budge not," same as before. 

16. Dashes forward to E 1, always runs on toes, looking back 
over left shoulder at Shylock's house, runs into old Gobbo and 
then runs backward to L C. Gobbo enters E 1, his cane in right 
hand with which he is feeling the way before him, has a basket 
on his left arm. 

24. Turns him toward the E. 

25. Turns him to the L. 

27. Turns him clear around. 

48. Holds his face close to his father. 

52. Stoops and turns his face upward so it is right under 
Gobbo's eyes. 

63. Kneels with his back toward his father. Launcelot 
regards this as a huge joke. 

74. Throws his arms around the old man's legs, nearly pull- 
ing him over. 

81. Launcelot takes his father's right hand and rubs it over 
the fingers of his left hand, which he has spread over his left side. 

87. Enter Bassanio R 1, with Leonardo and other servants. 

91. Exit servant L 3. 

92. Gets behind his father and pushes him toward Bassanio. 
95. Gobbo bobs, and pushes his son forward. 

97. Launcelot bobs and thrusts his father forward. They 
continue to do this until Bassanio says "One s-peak for both." 

121. Exeunt Launcelot and old Gobbo E 1. Launcelot 's 
movements always follow rhythm of text. 

122. Bassanio C. 

126. Exeunt Leonardo E 1. Enter Gratiano L 1. 
159, Exeunt Gratiano E 1, Bassanio L 3. . 



ACT III, Scene I 

Enter Salanio L 1, Salarino R 1, meet in C. 
20. Enter Shylock from R 1, hurriedly as if chased by a 
crowd, quickly crosses stage to L C. Salanio and Salarino, who 
have started toward R 1, call to him after he has passed them. 



SUGGESTIONS FOR STAGING 93 

22. Salanio R C, Salarino E. 

23. Crosses to C. 

30. Crosses to Shylock. 

42. Salarino crosses to E. C. 

63. Crosses to L. 

64. Enter a servant E 1. 

67. Enter Tubal E 1. 

68. Exeunt Salanio, Salarino, and servant E 1. 

69. Sliylock meets Tubal L C. 

85. Shvlock bowed with grief and misery here. 

88. Shylock clutches TubaPs coat, his fingers nervously 
clasping and unclasping. On ''What, What, What,'' read up 
the scale, regular intervals to give variety. 

91. Eaises hands, shoulder high, palms out, and turns eyes 
slightly upward, then clasps hands. "Is 't true, is 't true ?" again 
addresses Tubal. 

96. Shows great joy, exults in his good fortune. Observe 
how carefully the emotion of the scene is balanced by Tubal telling 
Shylock first about his daughter and then about Antonio. 

109. Use care here. Shylock prized his turquoise not for its 
value but for its associations and significance. Much supersti- 
tion was attached to this stone which was supposed to have the 
power to reconcile husband and wife. 
119. Exeunt Shylock L 1, Tubal El. 

ACT IV, Scene I 

Duke and Magnificoes discovered seated on L when curtain 
rises. Table L C, where Nerissa later sits. Antonio and Bas- 
sanio enter from L 1. Enter Shylock R accompanied by another 
Jew of about the same age and similarly attired. Gratiano, 
Salerio, and others are gathered up E. Portia enters from 
R 3, as also does Nerissa. 

2. Antonio takes a step forward bowing to the Duke. 
16. Shylock enters slowly and with great dignity. Bows low 
to the Duke whom he treats with marked deference throughout 
the scene. Stands E C. 

35. Absolute silence here. 

36. Lines spoken with great dignity. When referring to his 
oath "our holy Sabbath," Shylock raises his right arm, palm 



94 THE MERCHANT OF VENICE 

■upward, his head reverently bowed. "To have the due and for- 
feit of my bond," slowly drops his arm and lifts his head. 
83. Shylock always speaks respectfully, but firmly. 
97. "Shall I have it?" bows low to the Duke. 

113. Nerissa enters R hands letter to clerk; clerk bows and 
hands it to the Duke. During this action Shylock kneels and 
begins to sharpen his knife on the sole of his boot. 

128. Shylock rises and turning contemptuously away from 
Gratiano, speaks to his Jewish friend. 

Nerissa remains standing while letter is read then seats her- 
self at table and begins examining papers and books. All rise 
but the Duke when Portia enters. She should be dressed in a 
black cassock with small red buttons up the front from the hem 
to the collar and a student's red gown and cap. She should 
stand throughout the scene. 

161. Shylock moves down R C and Antonio down L C. 

185. Shylock reverently bows his head when Portia says 
"likest God's," but none of the Christians do. 

195. Shylock shows elation here, his excitement and satis- 
faction increasing to the climax. 

207. Shylock's face expresses great joy and some astonish- 
ment. 

215. Shylock draws forth the bond with great haste and much 
excitement. 

245. "So says the bond," points to the bond with his knife. 

252. Takes the bond from Portia; feigning to hunt for it, 
but knows it is not there. 

287. Knife in right hand, balance in left, Shylock is ready to 
rush at Antonio. "Most learned judge," bows to Portia; "A 
sentence," respectfully bows and addresses Duke; "Come, pre- 
pare," hurriedly crossing to Antonio. 

288. Portia steps forward, arresting Shylock by uplifted right 
hand, speaking with great calmness and dignity. "This bond," 
indicates bond held in left hand with index finger of right. 

295. Shylock staggers backward, drops the knife and balance. 

296. Gratiano nudges Shylock with his elbow, while taunt- 
ingly repeating the latter's words. Care must be exercised that 
his speeches never seem to be addressed to the court, but to his 
friends and the Jew. 

297. In a choked tone of amazement, can hardly speak. 



SUGGESTIONS FOR STAGING 95 

302. Shylock here seems almost dazed, as if he hardly under- 
stood what is taking place about him. Addresses the Duke to 
whom he respectfully bows. 

305. Portia stops the advance of Bassanio by her left hand. 

329. Portia gives Shylock his bond with a sweep of the hand. 

331. Shylock takes it, scrunches it up and throwing it upon 
the floor stamps upon it. 

354. Our emphasized here, to show the distinction, as implied, ' 
between the spirit of Shylock and that of a Christian. 

360. Shylock's spirit is now completely crushed. 

378. Broken, shamed and humiliated, Shylock almost stag- 
gers off of the stage; but clutching at the door frame as he 
exits R 1, endeavors to appear dignified and indifferent. 

385. Duke and his train, and all others exit R 3. 



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